Self Portrait (or The Large Self-Portrait)[1] is an oil on canvas painting by the Dutch artist Rembrandt. Painted in 1652, it is one of over 40 painted self-portraits by Rembrandt, and was the first he had painted since 1645;[2] in composition it is different from his previous self-portraits, depicting the painter in a direct frontal pose, hands on his hips, and with an air of self-confidence. It was painted the year that his financial difficulties began, and breaks with the sumptuous finery he had worn in previous self-portraits.[1] Art historian Christopher White has called it "one of the most magisterial and sombre of these (late) pictures",[3] it is in the Kunsthistorisches Museum in Vienna.

Rembrandt. Full-Length Self Portrait, c. 1650. Pen and brown ink on brownish paper, the only full-length self-portrait Rembrandt drew on paper, this may have been drawn in preparation for the painted Self Portrait.[4]

The freely painted clothing includes a brown robe that was most likely casual working attire, secured with a sash, over a black doublet with an upturned collar.[2] A drawing from c. 1650 shows Rembrandt in much the same pose and attire, and features an inscription, though not by the artist's hand, stating that these were the artist's studio clothes.[2] In the drawing Rembrandt is seen wearing a top hat, while in the painting he wears a black beret derivative of artists' portraits of the 16th century.[2]

Following a period of seven years when he painted no self-portraits, focusing instead on landscapes and intimate domestic subjects, the Vienna Self Portrait inaugurated a prolific stretch in which Rembrandt painted an average of one self-portrait a year until his death in 1669.[3][5] Contrary to the popular understanding that these paintings primarily represented a deeper personal interest in self-depiction, Ernst van de Wetering has proposed that they were painted specifically for connoisseurs who collected self-portraits by prominent artists.[5]

As in other late portraits and self-portraits by Rembrandt, a painted underlayer shows through in areas of shadow, here particularly in the eye sockets and beneath the moustache.[6] Microscopic analysis has revealed that this is not the painted ground layer, which is a similar gray color, but a separate underlayer of paint,[6] this local imprimatura, used in preparation for specific areas of the painting, was also practiced by Vermeer, and its purpose is not fully understood.[7]

A strong similarity has been noted to the self-portrait of c. 1655, also in the Vienna Kunsthistorisches Museum.[8] The later work shares the frontal angle, lighting, and informal attire of the larger painting, though the artist's face appears older.[8]

A painting of Rembrandt' son Titus van Rijn, by another artist in the style of Rembrandt, duplicates the pose and positioning of the figure in the Self Portrait.[9]

1.
Oil painting
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Oil painting is the process of painting with pigments with a medium of drying oil as the binder. Commonly used drying oils include linseed oil, poppy seed oil, walnut oil, the choice of oil imparts a range of properties to the oil paint, such as the amount of yellowing or drying time. Certain differences, depending on the oil, are visible in the sheen of the paints. An artist might use different oils in the same painting depending on specific pigments and effects desired. The paints themselves also develop a particular consistency depending on the medium, the oil may be boiled with a resin, such as pine resin or frankincense, to create a varnish prized for its body and gloss. Its practice may have migrated westward during the Middle Ages, Oil paint eventually became the principal medium used for creating artworks as its advantages became widely known. In recent years, water miscible oil paint has come to prominence and, to some extent, water-soluble paints contain an emulsifier that allows them to be thinned with water rather than paint thinner, and allows very fast drying times when compared with traditional oils. Traditional oil painting techniques often begin with the artist sketching the subject onto the canvas with charcoal or thinned paint, Oil paint is usually mixed with linseed oil, artist grade mineral spirits, or other solvents to make the paint thinner, faster or slower-drying. A basic rule of oil paint application is fat over lean and this means that each additional layer of paint should contain more oil than the layer below to allow proper drying. If each additional layer contains less oil, the painting will crack. This rule does not ensure permanence, it is the quality and type of oil leads to a strong. There are many media that can be used with the oil, including cold wax, resins. These aspects of the paint are closely related to the capacity of oil paint. Traditionally, paint was transferred to the surface using paintbrushes. Oil paint remains wet longer than other types of artists materials, enabling the artist to change the color. At times, the painter might even remove a layer of paint. This can be done with a rag and some turpentine for a time while the paint is wet, Oil paint dries by oxidation, not evaporation, and is usually dry to the touch within a span of two weeks. It is generally dry enough to be varnished in six months to a year, art conservators do not consider an oil painting completely dry until it is 60 to 80 years old

2.
Canvas
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Canvas is an extremely durable plain-woven fabric used for making sails, tents, marquees, backpacks, and other items for which sturdiness is required. It is also used by artists as a painting surface. It is also used in such objects as handbags, electronic device cases. The word canvas is derived from the 13th century Anglo-French canevaz, both may be derivatives of the Vulgar Latin cannapaceus for made of hemp, originating from the Greek κάνναβις. Modern canvas is made of cotton or linen, although. It differs from other cotton fabrics, such as denim. Canvas comes in two types, plain and duck. The threads in duck canvas are more tightly woven, the term duck comes from the Dutch word for cloth, doek. In the United States, canvas is classified in two ways, by weight and by a number system. The numbers run in reverse of the weight so a number 10 canvas is lighter than number 4, canvas has become the most common support medium for oil painting, replacing wooden panels. One of the earliest surviving oils on canvas is a French Madonna with angels from around 1410 in the Gemäldegalerie, however, panel painting remained more common until the 16th century in Italy and the 17th century in Northern Europe. Mantegna and Venetian artists were among those leading the change, Venetian sail canvas was readily available, as lead-based paint is poisonous, care has to be taken in using it. Early canvas was made of linen, a sturdy brownish fabric of considerable strength, linen is particularly suitable for the use of oil paint. In the early 20th century, cotton canvas, often referred to as cotton duck, linen is composed of higher quality material, and remains popular with many professional artists, especially those who work with oil paint. Cotton duck, which stretches more fully and has an even, mechanical weave, the advent of acrylic paint has greatly increased the popularity and use of cotton duck canvas. Linen and cotton derive from two different plants, the flax plant and the cotton plant, respectively. Gessoed canvases on stretchers are also available and they are available in a variety of weights, light-weight is about 4 oz or 5 oz, medium-weight is about 7 oz or 8 oz, heavy-weight is about 10 oz or 12 oz. They are prepared with two or three coats of gesso and are ready for use straight away, artists desiring greater control of their painting surface may add a coat or two of their preferred gesso

3.
Kunsthistorisches Museum
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The Kunsthistorisches Museum is an art museum in Vienna, Austria. Housed in its festive palatial building on Ringstraße, it is crowned with an octagonal dome, the term Kunsthistorisches Museum applies to both the institution and the main building. It is the largest art museum in the country and it was opened around 1891 at the same time as the Naturhistorisches Museum, by Emperor Franz Joseph I of Austria-Hungary. The two museums have similar exteriors and face each other across Maria-Theresien-Platz, both buildings were built between 1871 and 1891 according to plans drawn up by Gottfried Semper and Karl Freiherr von Hasenauer. The two Ringstraße museums were commissioned by the Emperor in order to find a shelter for the Habsburgs formidable art collection. The façade was built of sandstone, the building is rectangular in shape, and topped with a dome that is 60 meters high. The inside of the building is decorated with marble, stucco ornamentations, gold-leaf. It was featured in an episode of Museum Secrets on the History Channel and it had been the biggest art theft in Austrian history. Treasure of Nagyszentmiklós Media related to Kunsthistorisches Museum at Wikimedia Commons Official website Spherical panorama of entrance Hofburgs Armory - photo gallery in Flickr

4.
Vienna
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Vienna is the capital and largest city of Austria and one of the nine states of Austria. Vienna is Austrias primary city, with a population of about 1.8 million, and its cultural, economic and it is the 7th-largest city by population within city limits in the European Union. Today, it has the second largest number of German speakers after Berlin, Vienna is host to many major international organizations, including the United Nations and OPEC. The city is located in the part of Austria and is close to the borders of the Czech Republic, Slovakia. These regions work together in a European Centrope border region, along with nearby Bratislava, Vienna forms a metropolitan region with 3 million inhabitants. In 2001, the city centre was designated a UNESCO World Heritage Site, apart from being regarded as the City of Music because of its musical legacy, Vienna is also said to be The City of Dreams because it was home to the worlds first psycho-analyst – Sigmund Freud. The citys roots lie in early Celtic and Roman settlements that transformed into a Medieval and Baroque city and it is well known for having played an essential role as a leading European music centre, from the great age of Viennese Classicism through the early part of the 20th century. The historic centre of Vienna is rich in architectural ensembles, including Baroque castles and gardens, Vienna is known for its high quality of life. In a 2005 study of 127 world cities, the Economist Intelligence Unit ranked the city first for the worlds most liveable cities, between 2011 and 2015, Vienna was ranked second, behind Melbourne, Australia. Monocles 2015 Quality of Life Survey ranked Vienna second on a list of the top 25 cities in the world to make a base within, the UN-Habitat has classified Vienna as being the most prosperous city in the world in 2012/2013. Vienna regularly hosts urban planning conferences and is used as a case study by urban planners. Between 2005 and 2010, Vienna was the worlds number-one destination for international congresses and it attracts over 3.7 million tourists a year. The English name Vienna is borrowed from the homonymous Italian version of the name or the French Vienne. The etymology of the name is still subject to scholarly dispute. Some claim that the name comes from Vedunia, meaning forest stream, which produced the Old High German Uuenia. A variant of this Celtic name could be preserved in the Czech and Slovak names of the city, the name of the city in Hungarian, Serbo-Croatian and Ottoman Turkish has a different, probably Slavonic origin, and originally referred to an Avar fort in the area. Slovene-speakers call the city Dunaj, which in other Central European Slavic languages means the Danube River, evidence has been found of continuous habitation since 500 BC, when the site of Vienna on the Danube River was settled by the Celts. In 15 BC, the Romans fortified the city they called Vindobona to guard the empire against Germanic tribes to the north

Vienna
Vienna
Vienna
Vienna

5.
Self-portraits by Rembrandt
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The dozens of self-portraits by Rembrandt were an important part of his oeuvre. This was a high number for any artist up to that point. By comparison, the highly prolific Rubens only produced seven self-portrait paintings, the self-portraits create a visual diary of the artist over a span of forty years. They were produced throughout his career at a steady pace. However, there is a gap in paintings between 1645 and 1652, the last three etchings date to 1648, c. 1651, and 1658, whereas he was painting portraits in 1669. At one time about ninety paintings were counted as Rembrandt self-portraits, in others he is pulling faces at himself. Together they give a clear picture of the man, his appearance and his psychological make-up. Both seem to have often been bought by collectors, and while some of the etchings are very rare, no self-portraits were listed in the famous 1656 inventory, and only a handful of the paintings remained in the family after his death. Rembrandts self-portraits were created by the artist looking at himself in a mirror, in the etchings the printing process creates a reversed image, and the prints therefore show Rembrandt in the same orientation as he appeared to contemporaries. This is one reason why the hands are usually omitted or just cursorily described in the paintings, one may have been bought about 1652 and then sold in 1656 when he went bankrupt. In 1658 he asked his son Titus to arrange delivery of another one and these are B7, B19, B21 and B22, stretching between 1631 and 1648. There are a number of what seem to be abandoned attempts at such portraits around the same times, while the earliest etchings are very rare, many others that are not official portraits survive in large numbers, and certainly reached the market of collectors. As noted above, there are only two sketchy etchings after 1648, and there are no etched equivalents of the great painted self-portraits of the 1550s and 1560s. The number of drawings now accepted is far smaller, in single figures, the standing portrait, if indeed by it is Rembrandt, may have been done for someone elses friendship album, keeping these was common in artistic and literary circles. The Washington red chalk drawing, perhaps the most finished example, is close to the etching B2 in many ways, since these were exclusive to aristocratic circles, it was probably invented like a piece of costume. A short film from 1956 by Bert Haanstra showed a sequence of the paintings, with the eyes always in the same position. There is also Le miroir des paradoxes, autoportraits, film by Alain Jaubert from the Palettes series

6.
Titus van Rijn
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Titus van Rijn was the fourth and only surviving child of Rembrandt Harmenszoon van Rijn and Saskia van Uylenburgh. Titus is best known as a figure or model in his fathers paintings, Titus van Rijn was born in Amsterdam on September 22,1641, the fourth child of the famed artist Rembrandt van Rijn and his wife Saskia van Uylenburgh. After Rembrandts bankruptcy in 1656, Titus and his stepmother, Hendrickje Stoffels, were named in charge of Rembrandts affairs and began an art-dealership, at age 15, Titus made a will at his fathers insistence, making his father sole heir. In 1668, Titus married Magdalena van Loo and her father was Jan van Loo, silversmith, whose brother was Gerrit van Loo, a lawyer in Het Bildt. The couple lived at Magdalenas mothers house on the Singel and they had one daughter, Titia, who married François van Bijler in 1686. Titus van Rijn died in 1668 and was buried in the Westerkerk in Amsterdam and his wife, mother-in-law, and father all died a year later. Media related to Titus van Rijn at Wikimedia Commons Amsterdam City Archive

7.
International Standard Book Number
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The International Standard Book Number is a unique numeric commercial book identifier. An ISBN is assigned to each edition and variation of a book, for example, an e-book, a paperback and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, the method of assigning an ISBN is nation-based and varies from country to country, often depending on how large the publishing industry is within a country. The initial ISBN configuration of recognition was generated in 1967 based upon the 9-digit Standard Book Numbering created in 1966, the 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108. Occasionally, a book may appear without a printed ISBN if it is printed privately or the author does not follow the usual ISBN procedure, however, this can be rectified later. Another identifier, the International Standard Serial Number, identifies periodical publications such as magazines, the ISBN configuration of recognition was generated in 1967 in the United Kingdom by David Whitaker and in 1968 in the US by Emery Koltay. The 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108, the United Kingdom continued to use the 9-digit SBN code until 1974. The ISO on-line facility only refers back to 1978, an SBN may be converted to an ISBN by prefixing the digit 0. For example, the edition of Mr. J. G. Reeder Returns, published by Hodder in 1965, has SBN340013818 -340 indicating the publisher,01381 their serial number. This can be converted to ISBN 0-340-01381-8, the check digit does not need to be re-calculated, since 1 January 2007, ISBNs have contained 13 digits, a format that is compatible with Bookland European Article Number EAN-13s. An ISBN is assigned to each edition and variation of a book, for example, an ebook, a paperback, and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, a 13-digit ISBN can be separated into its parts, and when this is done it is customary to separate the parts with hyphens or spaces. Separating the parts of a 10-digit ISBN is also done with either hyphens or spaces, figuring out how to correctly separate a given ISBN number is complicated, because most of the parts do not use a fixed number of digits. ISBN issuance is country-specific, in that ISBNs are issued by the ISBN registration agency that is responsible for country or territory regardless of the publication language. Some ISBN registration agencies are based in national libraries or within ministries of culture, in other cases, the ISBN registration service is provided by organisations such as bibliographic data providers that are not government funded. In Canada, ISBNs are issued at no cost with the purpose of encouraging Canadian culture. In the United Kingdom, United States, and some countries, where the service is provided by non-government-funded organisations. Australia, ISBNs are issued by the library services agency Thorpe-Bowker

International Standard Book Number
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A 13-digit ISBN, 978-3-16-148410-0, as represented by an EAN-13 bar code

8.
List of paintings by Rembrandt
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The following is a list of paintings by Rembrandt that are generally accepted as autograph by the Rembrandt Research Project. A Corpus of Rembrandt Paintings II, a Corpus of Rembrandt Paintings III. Levie, S. H. van Thiel, P. J. J. van de Wetering, a Corpus of Rembrandt Paintings IV. van de Wetering, Ernst. A Corpus of Rembrandt Paintings V. van de Wetering, Ernst, a Corpus of Rembrandt Paintings VI, Rembrandt’s Paintings Revisited – A Complete Survey

List of paintings by Rembrandt
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The Spectacles-pedlar (Sight)
List of paintings by Rembrandt
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The Three Singers (Hearing)
List of paintings by Rembrandt
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Christ Driving the Money-changers from the Temple
List of paintings by Rembrandt
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The Stoning of St. Stephen

9.
The Raising of Lazarus (Rembrandt)
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The work depicts the Raising of Lazarus as told in the Gospel of John, Chapter 11. It is in the collection of the Los Angeles County Museum of Art, the painting shows the moment Lazarus re-awakens from death and rises from his tomb as Christ calls him. Lazarus is in the half of the painting while the figures at left are far more illuminated than he. Mary and those assembled look on in amazement as Lazarus comes to life, the painting depicts a parable of spiritual life, the miracle of the hardened sinner receiving first grace. Rembrandt used chiaroscuro in painting, with the dark interior of the burial cave. This is one of few religious subjects from the New Testament that Rembrandt painted. Rembrandt painted The Raising of Lazarus early in his career, while he was still in Leiden, Rembrandt made two etchings on the same subject but with differing compositions, one in approximately 1632 and another in 1642. The 1632 etching shows a different point of view while the 1642 etching shows different figures in the cave, the 1642 etching also depicts Christ as more of a healer, rather than the enchanter of this work. The subject of this painting may draw on an undated Jan Lievens etching of the same name, Lievens and Rembrandt were friends and probably worked together. The composition of the painting may derive from a drawing by Rembrandt from the time as the Burial of Christ. Rembrandt would most closely imitate Raising of Lazarus with his 1635/1639 painting The Resurrection, the placement of the figures is similar and a study of drawings indicates that the latter was developed from the former. Raising of Lazarus was owned by Rembrandt for most of his life and it was inventoried as being hung in Rembrandt’s anteroom. The painting passed through various owners in Europe until it was bought by Howard F. Ahmanson, Sr. in 1959, Los Angeles County Museum of Art collection page

10.
The Stoning of Saint Stephen
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The Stoning of Saint Stephen is the first signed painting by Dutch artist Rembrandt, painted in 1625 at the age of 19. It is currently kept in the Musée des Beaux-Arts de Lyon and this work is inspired by the martyrdom of Saint Stephen which is recounted in Acts 7. This young deacon in the Christian community of Jerusalem was sentenced to death by stoning, the painting was influenced by the art of Caravaggio and Adam Elsheimer. It represents the moment when Stephen was stoned outside the city by his many tormentors, saul of Tarsus can be seen seated in the background holding in his lap the coats of the stoners. Some inaccuracies in the drawing can be seen, the character behind Stephen seems to be a self-portrait done into a wider composition, as Spanish painter Diego Velázquez did in Las Meninas. John Durham suggests that Rembrandt presents himself as a somewhat alarmed presence, a participant who may be having second thoughts about what was taking place

The Stoning of Saint Stephen
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The Stoning of Saint Stephen
The Stoning of Saint Stephen
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The self-portrait found in the painting.

11.
Self-portrait (Rembrandt, Indianapolis)
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This 1629 self-portrait by Dutch painter Rembrandt van Rijn is part of the Clowes Fund Collection of the Indianapolis Museum of Art in Indianapolis, Indiana. It is among the earliest of over 40 self-portraits by Rembrandt and this is a portrait of studied spontaneity. His parted lips, tilted head, and leaning posture all evoke a moment of surprise and sudden animation and he wears what can best be described as a costume, culled from his collection of studio attire. This includes a scarf, a cap pulled low to give Rembrandt a dramatic shadow over his brow, since Rembrandt never served in the militia, the gorget is sheer affectation. Although he was only twenty-three when he made this painting, Rembrandt utilized an array of artistic techniques to fill it with emotion. Already, his characteristic lighting and dense atmosphere are visible and he used nearly monochromatic hues and incisive brushwork, delineating individual strands of hair by scratching into the wet paint, to create this emotionally charged portrait. Studies such as this enabled him to create his great works of art. At the time of this creation, Rembrandt was still a young, uncelebrated painter in his hometown. Working as the master of his own workshop, he honed his craft. Rembrandts followers endlessly emulated his self-portraits, creating a whole subgenre eagerly sought by collectors, Rembrandt often used his self-portraits as teaching aids for his students, having them produce countless copies and variants both for their own edification and because they sold quite well. There are no fewer than five copies of this particular painting, Art historian Abraham Bredius, who discovered it in a castle near Lvov in 1897, first presented it as an authentic Rembrandt, but his definitive Rembrandt catalogue reversed that opinion in 1969. Other scholars weighed in on both sides, before and after a 1966 cleaning, technical examinations including X-radiography in 1979 settled the matter, and the work is now accepted as Rembrandts own. The X-radiographs revealed extensive pentimenti where Rembrandt altered the angles of his shoulders and head and this indicates that the work is an original composition, rather than a mere copy. There is further evidence in favor of this attribution which does not require advanced equipment to discern. The painting bears the monogram RHL, which was used by Rembrandt during his years in Leiden and these initials were added when the paint was still wet, and do not appear on any of the copies. Furthermore, this portrait includes several blemishes on Rembrandts chin, while he himself always recorded his face with all its wrinkles and imperfections, his students tended to gloss over such evidence of humanity. Clowes purchased this painting in 1951, ending its circulation among the families of Poland. The Clowes family gave it to the IMA in 1959 and it has the accession number C10063 and is currently on view in the Clowes Pavilion

Self-portrait (Rembrandt, Indianapolis)
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Self-Portrait

12.
Andromeda Chained to the Rocks
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Andromeda Chained to the Rocks is a 34 x 25 oil on panel painting by the Dutch Golden Age painter Rembrandt. It is now in the Mauritshuis, The Hague, Netherlands, Andromeda represents Rembrandts first full length mythological female nude history painting and is taken from a story in Ovids Metamorphoses. In Metamorphoses, Andromeda is the daughter of an Ethiopian king and queen, Cepheus, Cassiopeia was very boastful about her beauty, and asserted that she was more beautiful than Juno, the queen of the gods and the Nereids. Insulted by Cassiopeias assertions, Neptune sent a sea monster to the Ethiopian coast, Neptune then could only be appeased upon the sacrifice of Andromeda, the kings beautiful virgin daughter, to the sea monster. Andromeda was chained naked to rocks by the coast, awaiting the sea monster, Perseus, passing by, had noticed the beautiful girl and made a deal with her parents that he would save her, should he be allowed to have her hand in marriage. The king as queen agree and andromeda was spared and this painting depicts a classic example of the damsel in distress. In this theme a beautiful woman is placed in a perilous situation. The damsel can then only be rescued by a hero, whom of which she ends up marrying. In this painting, Andromeda has a look on her face as she is completely shackled. Many artists such as Titian have depicted this story by showing Andromeda, her rescuer Perseus, and her beauty as described in her source material can be seen in some of these other works, along with Perseus role as her rescuer. In this work, Rembrandt shies away from classical conventions by showing her not as a glamorous beauty, no other figure is included, but her alarmed look out of the picture space to the right creates narrative tension. The painting is an example of Rembrandts rejection of idealized beauty, since he did not believe true beauty existed naturally, he painted women as he saw them, naturally imperfect and flawed. Rembrandts subsequent nude mythological paintings from this period Diana Bathing and Danaë show his evolving portrayal of the nude, other Depictions of Andromeda Ovid, Translated by A. D. Melville, Metamorphoses, Oxford University Press,1998. Clark, Kenneth, Rembrandt and the Italian Renaissance

Andromeda Chained to the Rocks
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Andromeda Chained to the Rocks

13.
The Anatomy Lesson of Dr. Nicolaes Tulp
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The Anatomy Lesson of Dr. Nicolaes Tulp is a 1632 oil painting on canvas by Rembrandt housed in the Mauritshuis museum in The Hague, the Netherlands. Dr. Nicolaes Tulp is pictured explaining the musculature of the arm to medical professionals, some of the spectators are various doctors who paid commissions to be included in the painting. The painting is signed in the top-left hand corner Rembrandt and this may be the first instance of Rembrandt signing a painting with his forename as opposed to the monogramme RHL, and is thus a sign of his growing artistic confidence. The spectators are appropriately dressed for this social occasion and it is thought that the uppermost and farthest left figures were added to the picture later. It was his first major commission in Amsterdam, each of the men included in the portrait would have paid a certain amount of money to be included in the work, and the more central figures probably paid more, even twice as much. Rembrandts image is a fiction, in an anatomy lesson. One person is missing, the Preparator, whose task was to prepare the body for the lesson, in the 17th century an important scientist such as Dr. Tulp would not be involved in menial and bloody work like dissection, and such tasks would be left to others. It is for this reason that the picture shows no cutting instruments, instead we see in the lower right corner an enormous open textbook on anatomy, possibly the 1543 De humani corporis fabrica by Andreas Vesalius. The corpse is that of the criminal Aris Kindt, who was convicted for armed robbery and he was executed earlier on the same day of the scene. The face of the corpse is partially shaded, a suggestion of umbra mortis, Kindt was discussed in the 1999 novel The Rings of Saturn by W. G. Sebald, and plays a significant role in Laird Hunts 2006 novel The Exquisite. Medical specialists have commented on the accuracy of muscles and tendons painted by the 26-year-old Rembrandt and it is not known where he obtained such knowledge, it is possible that he copied the details from an anatomical textbook. However, in 2006 Dutch researchers recreated the scene with a male cadaver and it is the common extensor origin that originates at the lateral epicondyle. In a 2007 study, the American artist and anatomist David J, the Anatomy Lesson of Dr. Deijman, painted by Rembrandt in 1656, was intended to be displayed in the Anatomical Hall in Amsterdam alongside The anatomy lesson of Tulp. Deijman was Tulps immediate successor in the post of praelector chirugic et anatomie, the painting was damaged by fire in 1723, and only a central fragment survives. Around 1856 Édouard Manet visited The Hague and made an oil on panel copy of The Anatomy Lesson. Broadly painted in a palette, Manet gave the painting to his physician. A less detailed copy of The Anatomy Lesson of Dr Nicolaes Tulp by an unknown artist hangs in Edinburgh as part of The University of Edinburgh Fine Art Collection, in 2010, Yiull Damaso created a parody of the painting depicting prominent South Africans. Nelson Mandela was the cadaver, Nkosi Johnson was the instructor, and the students were Desmond Tutu, F. W. de Klerk, Thabo Mbeki, Jacob Zuma, Cyril Ramaphosa, Trevor Manuel, and Helen Zille

14.
Old Man with a Gold Chain
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Old Man with a Gold Chain is a portrait by Rembrandt, painted around 1631 and now in the Art Institute of Chicago. This painting was documented by Hofstede de Groot in 1915, who wrote,675, half-length, without hands, almost life size. He is inclined to the left, but his head and eyes are turned to the right and he wears a dark purple cloak, over which hangs a gold chain with a medallion. Round his neck is a small close-fitting steel gorget, in his right ear is a pearl. He has a short beard, and curly hair covered by a broad-brimmed black hat with two dark ostrich feathers. Signed on the left at foot with the monogram R H L, there are copies, Bode 217, Wb. 6687, ii, Bode, p.413, Dutuit, p.43, Michel, sedelmeyer, Paris, Catalogue of 300 Paintings,1898, No.111. In the collection of W. H. Beers, New York, in the collection of S. Neumann, London. Martineau and others, London, March 10,1902, panel,23 1/2 inches by 19 inches. Causid-Brück of Cassel, Frankfort-on-Main, February 10,1914, No.25, exhibited at Düsseldorf,1912, No.43. M. P. W. Boulton, London, December 9,1911, in the possession of P. and D. Colnaghi and Obach, London. In the possession of Julius Böhler, Munich, marczell von Nemes of Budapest, Paris, June 17,1913, No.60. In the possession of Julius Böhler, Munich, in the possession of Reinhardt, New York. Halffiguur van een man met halsberg en gevederde baret, ca.1631 in the RKD Artic. edu, Old Man with a Gold Chain Artic. edu, Renaissance exhibitions

Old Man with a Gold Chain
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External links [edit]

15.
Jacob de Gheyn III
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Jacob de Gheyn III, also known as Jacob III de Gheyn, was a Dutch Golden Age engraver, son of Jacob de Gheyn II, canon of Utrecht, and the subject of a 1632 oil painting by Rembrandt. The portrait is half of a pair of pendent portraits, the other piece is a portrait of de Gheyns friend Maurits Huygens, wearing similar clothing and facing the opposite direction. De Gheyn learned engraving from his father, who was a favored royal artist who designed a garden in the Hague for the royal family and this was a shared interest with the Huygens family who lived close by. The younger De Gheyn studied in Leiden with Constantijn and Maurits Huygens, excepting tours of London in 1618 with the Huygens brothers and Sweden in 1620, De Gheyn lived in the Hague until 1634, when he moved to Utrecht to become canon of St Marys church. His engravings became known though the writings of Aernout van Buchel who admired his work, the painting of De Gheyn in Dulwich Picture Gallery is smaller than most of Rembrandts works, measuring only 29.9 by 24.9 centimetres. It has been numerous times, and its size is one factor that has contributed to its numerous thefts. Huygens and de Gheyn had commissioned Rembrandt to paint them in identical formats, the friends had agreed that the first of them to die would receive the painting owned by the other, as evidenced by inscriptions on their reverse. They were reunited when de Gheyn died, Maurits Huygens survived De Gheyn by less than a year however, and his brother Constantijn Huygens was so heartbroken that he stopped writing for a long period. Between 14 August 1981 and 3 September 1981 the painting was taken from Dulwich Picture Gallery, a little under two years later a burglar smashed a skylight and descended through it into the art gallery, using a crowbar to remove the painting from the wall. The police arrived within three minutes but were too late to apprehend the thief, the painting was missing for three years, eventually being found on 8 October 1986 in a luggage rack at the train station of a British army garrison in Münster, Germany. The other two times, the painting was found once underneath a bench in a graveyard in Streatham, each time the painting has been returned anonymously with more than one person being charged for its disappearance

16.
Philosopher in Meditation
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Philosopher in Meditation is the traditional title of an oil painting in the Musée du Louvre, Paris, that has long been attributed to the 17th-century Dutch artist Rembrandt. It is signed RHL-van Rijn and dated 1632, at the time of Rembrandts move from Leiden to Amsterdam, recent scholarship suggests that the painting depicts Tobit and Anna waiting for their son Tobias instead. The painting appeared in Paris around the middle of the 18th century, the popularity of the painting may be measured by its presence on the internet, where it is often used as an emblem of philosophy, or interpreted along esoteric or occult lines. Painted in oils on an oak panel measuring about 11 x 13 in, the painting depicts in slightly accelerated perspective two figures in a partially vaulted interior that is dominated by a wooden spiral staircase. The architecture includes stone, brick and wood, with arched elements that create an impression of monumentality, as in the staircase and the basketwork tray at the center of the composition, the curved lines can be said to organize the straight lines. The first figure is that of an old man seated at a table in front of a window, his head bowed, the second figure is that of an old woman tending a fire in an open hearth. As it is, the painting is quite dark due to the aging of the varnish. The panel is signed RHL-van Rijn 163_ at the bottom and left of the center, the signature is traced in light pigment on a dark background and is quite difficult to make out. The last digit is a blob of paint, the form. The type of signature—monogram plus patronymic—would argue for 1632, for the artist used this type of only in this year. This does not mean that the picture was painted in that year or even in Amsterdam, in any case, this type of signature is so rare in Rembrandts oeuvre and date-specific that it argues for authenticity. While the traditional title Philosopher in Meditation has to a large extent been responsible for the paintings popularity, staircases—whether spiral or not—were not an attribute of philosophy in the early 17th century. Similar observations argue against identifying the figure as an alchemist. The objects depicted suggest a setting, yet the improbable architecture speaks more for a history than a genre subject. The French art historian Jean-Marie Clarke argues that the scene is derived from the Book of Tobit. The sole objection to this interpretation is that, apart from the two main figures—the blind Tobit and his wife Anna— there is no identifying attribute, such as Annas spinning wheel. Nevertheless, an interpretation of the scene is Tobit and Anna waiting for the return of their only son, Tobias. This is supported by an 18th-century source identifying a painting of the dimensions by Rembrandt representing a Composition with Tobit

Philosopher in Meditation
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Philosopher in Meditation (or Interior with Tobit and Anna) by Rembrandt
Philosopher in Meditation
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Engraved reproduction by Devilliers l'aîné after Rembrandt's Philosopher in Meditation (1814)
Philosopher in Meditation
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Anna and the Blind Tobit by Rembrandt and Dou (1630)
Philosopher in Meditation
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Philosopher with an Open Book by Salomon Koninck

17.
The Abduction of Europa (Rembrandt)
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Rembrandt Harmenszoon van Rijn’s The Abduction of Europa is one of his rare mythological subject paintings. The piece is oil on canvas and now located in the J. Paul Getty Museum, the inspiration for the painting is Ovid’s Metamorphoses, part of which tells the tale of Zeus’s seduction and capture of Europa. The painting shows a scene with Europa being carried away in rough waters by a bull while her friends remain on shore with expressions of horror. Rembrandt combined his knowledge of literature with the interests of the patron in order to create this allegorical work. The use of an ancient myth to impart a contemporary thought, the Abduction of Europa is Rembrandt’s reinterpretation of the story, placed in a more contemporary setting. He developed an interest in the world early in his life while in Amsterdam. Rembrandt moved to Amsterdam in 1631 because the city was a growing business-oriented center where Rembrandt found work with great success, during this time, the international High Baroque style was popular. Rembrandt did not complete many mythological subject paintings, out of three hundred sixty completed works, five displayed tales from the Metamorphoses, five depicted goddesses, a Carthaginian queen, all of which only five represented myth subjects. Rembrandt occasionally used these mythological paintings as allegory, applying the tale to some Christian theme or a moral tradition, jacques Specx, of the Dutch East India Company, commissioned Rembrandt to complete The Abduction of Europa. Specx had established a center in Japan in 1609, served as the Governor of Batavia. The painting certainly was in Specx’s possession, along with five other portrait pieces, the subject and its allegorical meaning can be attributed to the patron, the artist, and a Belgian art biographer, Karel van Mander, whose theories entertained Rembdrant. Van Mander’s book Het schilder-boeck released an edition in 1618. The book was produced in Amsterdam and included details about many Netherlands painters, Rembrandt surely would have read this book, both because of its importance and its location, and familiarized himself with van Mander’s theories and interpretations of Ovid’s myths. Van Mander commented on Europa’s abduction, with a European spin to it, Ovid’s account of the abduction of Europa is found in Book II 833-75 of Metamorphoses. Europa is a princess of Tyre, who is playing with her court on the coast when a bull appears. Europa mounts the bull, which quickly whisks her away into the ocean, when Europa and her friends notice the bull retreating further into the sea without coming back, the bull transforms into Zeus and carries her to Mount Olympus on the island of Crete. Rembrandt’s painting is set just as Europa is whisked away, as seen by the bull, art historians, like Mariët Westermann and Gary Schwartz interpret the painting as a reference to Specx’ career. The painting includes details from Ovid’s story that strengthen the location of the tale as well as tie it to Specx’ life, the African driver and non-European coach in the shadows to the right allude to the exotic Phoenician coast

18.
Portrait of a Man Rising from His Chair
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Portrait of a Man Rising from His Chair is a painting by the Dutch painter Rembrandt, painted in 1633. It hangs in the Taft Museum of Art of Cincinnati, Ohio, the oil on canvas portrait measures 124 by 99 centimetres. It is signed and dated 1633, and there is no doubt of its authenticity, the pose of the wealthy subject is unusually animated, as he is rising, perhaps to greet a visitor or to introduce him to his wife depicted in a companion painting. The portrait and its pendant, Portrait of a Young Woman with a Fan, have been separated since 1793, occasional exhibitions have reunited the pair. The painting was purchased by Charles P. Taft from the Pourtales family of Paris, although the price paid for the picture was not made public, it was reported in the London Times at the time of the purchase that it cost $500,000

Portrait of a Man Rising from His Chair
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Portrait of a Man Rising from His Chair

19.
The Storm on the Sea of Galilee
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The painting depicts the miracle of Jesus calming the storm on the Sea of Galilee, as depicted in the fourth chapter of the Gospel of Mark in the New Testament of the Christian Bible. The museum still displays the paintings empty frames in their original locations, on March 18,2013, the FBI announced they knew who was responsible for the crime. Criminal analysis has suggested that the heist was committed by a crime group. There have been no conclusions made public as the investigation is ongoing, in The Blacklist episode Gina Zanetakos, Raymond Reddington has possession of The Storm on the Sea of Galilee and is arranging its sale to a buyer for the buyers wedding. In the Complete First Season DVD, it is disc 2, Episode, Gina Zanetakos,5, the painting is the cover of a book called, Against the Gods, The Remarkable Story of Risk by Peter L. Bernstein. The painting is used as the artwork for The Struggle. Limb explains the Rembrandt is not only a painting but cheaper for the footage. The painting also is displayed hanging without its frame in Episode 3 of Batman, the painting is displayed in Episode 2/ Season 1 of Iron Fist in the penthouse of the supposedly dead Harold Meachum. The Isabella Stewart Gardner Museum, A Companion Guide and History

The Storm on the Sea of Galilee
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The Storm on the Sea of Galilee

20.
Flora (Rembrandt, Hermitage)
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Flora or Saskia as Flora is a 1634 painting by Rembrandt, showing his wife Saskia van Uylenburgh as the goddess Flora. It is now in the Hermitage Museum in St Petersburg and this painting was documented by Hofstede de Groot in 1915, who wrote,206. She stands, in profile to the left and she turns her face, which has Saskias features, with a slight inclination towards the spectator. In her right hand she holds a staff entwined with flowers diagonally before her and her hair, adorned with a large garland of flowers, falls in long curls down her back. She wears a dress of gay pattern with sleeves, a scarf crossed on her bosom. The light, which is distributed, falls from the left. Thick bushes form a dark background, wrongly called until now The Jewish Bride. Signed on the left below the hand, Rembrandt f. 1634, canvas,50 inches by 40 inches, etched by N. Mossoloff in Les Rembrandts de lErmitage, and in the Zeitschrift für bildende Kunst, viii. Mentioned by Vosmaer, pp.504, etc. by Bode, pp.424,601, by Dutuit, p.37, by Michel, herman Aarentz, Amsterdam, April II,1770, according to Van Eynden and Van der Willigen, iii. Empress of Russia, for the Hermitage, in the Hermitage Palace, Petrograd,1901 catalogue, No.812. Flora in the RKD Flora, in the Hermitage Michael Kitson, Rembrandt

Flora (Rembrandt, Hermitage)
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Bibliography [edit]

21.
Artemisia (Rembrandt)
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Artemisia Receiving Mausolus Ashes is a painting by the Dutch master Rembrandt. It is housed in the Museo del Prado of Madrid, Spain and it is signed REMBRANDT F,1634. The subject of the picture is still unclear and it portrays a young woman, variously identified as Sophonisba or Artemisia, or a generic queen due to her jewels and rich garments, receiving a cup from a maiden. The cup would contain the ashes of Artemisias husband, King Mausolus, or, in the case of Sophonisba, for the woman, Rembrandt probably used his wife Saskia as model

Artemisia (Rembrandt)
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Artemisia

22.
The Descent from the Cross (Rembrandt, 1634)
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Rembrandt Harmenszoon van Rijn’s Descent from the Cross is one of his many religious scenes. The piece is oil on canvas and now located in the Hermitage Museum in St. Petersburg, the piece is intriguing stylistically in its unique figural composition and variety of lighting effects. Descent from the Cross is a scene in religious themed art and, like many artists before and after him. In the Hermitage edition of the work, the arrangement is quite complex. While the scene is crowded, each person in the image has a facial expression. This emotion is shown in the weeping, open mourning of the women, Jesus’ mother, Mary, is portrayed in the work as unconscious, having fainted from the overwhelming grief and sadness. She is portrayed as physically, and likely mentally, supported by the other bystanders, Jesus himself is portrayed in a realistic fashion, with his body slumped and twisted rather unsettlingly as he is carried down the cross displaying the lifeless quality of his form. Jesus’ physical body shape is rounded, almost Ruben-esque, raising the question of whether Rembrandt was influenced by Rubens’ notably voluptuous figures. Also evident on the body are the marks of the thorn crown, lighting of this image is very elaborate and strategized upon certain figures creating groupings of bystanders. The intensity of the light is highly varied, the lightest and brightest areas are on Jesus’ body, promoting it as the focal point of the piece, and the darkest area in the unlit, nearly black, inky background. Various torches and candles provide the light shed on the figures, the different types of candles and torches provide different intensities of light. Although varying in degree, light specifically illuminates, and delineates and these groups are Jesus and the people carrying him, women laying out what appears to be a burial cloth, and Mary and her supporters. This strategic lighting seems to create a sort of order to the work, shedding light on what has happened, what will happen next, Rembrandt often uses religious scenes and imagery in his paintings. Rembrandt’s family was well off, with his father being a miller. Although he later created many works, Rembrandt was not raised in the church. His mother was a Roman Catholic, and father belonged to the Dutch Reformed Church, however, there is no evidence that Rembrandt belonged to a church. Throughout Rembrandt’s youth and the years of his career, the Netherlands was undergoing huge changes in religion in the form of the third wave of the Protestant Reformation. The third wave of the Reformation was followed closely by a campaign by the Roman Catholic Jesuits to try

The Descent from the Cross (Rembrandt, 1634)
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Notes [edit]

23.
The Prodigal Son in the Brothel
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The Prodigal Son in the Brothel is a painting by the Dutch master Rembrandt. It is housed in the Gemäldegalerie Alte Meister of Dresden, Germany and it portrays two people who had been identified as Rembrandt himself and his wife Saskia. In the Protestant contemporary world, the theme of the son was a frequent subject for works of art due to its moral background. Rembrandt himself painted a Return of the Prodigal Son in 1669, the left side of the canvas was cut, perhaps by the artist himself, to remove secondary characters and focus the observers attention on the main theme. The pigment analysis shows Rembrandts choice of the usual pigments such as red ochre, lead-tin-yellow, madder lake and smalt. The painting in the State Art Gallery in Dresden Rembrandt, Self-Portrait with Saskia, ColourLex

The Prodigal Son in the Brothel
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The Prodigal Son in the Brothel

24.
A Polish Nobleman
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A Polish Nobleman is a 1637 painting by Rembrandt depicting a man in a costume of either Polish szlachta or boyar nobility. The identity of the subject of the painting is unclear, and has given rise to different interpretations. The view that the dress is clearly Polish is not universally held. The painting has changed several times, and its past owners have included Catherine II the Great. It is currently located at the National Gallery of Art in Washington, the portrait represents a man, estimated by some to be 45 years of age, standing turned to the viewers right, looking at the viewer with a commanding expression. In his uplifted right hand he holds a baton with a golden cap and he has a thick moustache and wears a high fur cap on which there is a golden chain with precious stones and a coat of arms in the center. From his ear a large pear-shaped pearl hangs from a golden pendant earring. He wears a mantle with a broad fur collar and, over it. A full light from the falls on the right side of his face. The painting was created by Rembrandt in 1637 and it was not given an official title. The current one is the most recent, widely accepted one, prior and alternate names include Portrait of a Slav Prince, Portrait dun Turc, and Man in Russian Costume. Its authenticity was supported by an analysis of the panels wood, the painting underwent restoration in 1985 and has been X-rayed. The paintings first owner or owners are not clear, but it might have been owned by a certain Harman van Swole and it was purchased in 1768 by Catherine II the Great and held in the Hermitage Museum in Saint Petersburg. It was purchased by Andrew Mellon in 1931, and given by the Mellon Trust to the National Gallery of Art in Washington, the painting was one of a number of artworks that Mellon had purchased from the Hermitage during the 1930s. He denied having made these purchases for several years, since the US was in a major depression — which would have made the acquisitions seem extravagant — and at odds with the Soviet government. The works were kept for some time in a section of the Corcoran Gallery of Art in Washington. This work was labeled by some art critics as a tronie, scholars have attempted for more than a century to understand who is portrayed in this painting. Earlier proposals that the subject was John III Sobieski or Stephen Bathory have been discredited, according to Otakar Odložilík, while the man in the painting is clearly wearing Polish garb, it is neither certain who he is, nor whether he is a Pole

A Polish Nobleman
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A Polish Nobleman

25.
The Night Watch
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It is in the collection of the Amsterdam Museum but is prominently displayed in the Rijksmuseum as the best known painting in its collection. The Night Watch is one of the most famous Dutch Golden Age paintings and is window 16 in the Canon of Amsterdam, the painting was completed in 1642, at the peak of the Dutch Golden Age. It depicts the eponymous company moving out, led by Captain Frans Banning Cocq and his lieutenant, behind them, the companys colours are carried by the ensign, Jan Visscher Cornelissen. Rembrandt has displayed the emblem of the arquebusiers in a natural way. She is a kind of mascot herself, the claws of a chicken on her belt represent the clauweniers. The man in front of her is wearing a helmet with an oak leaf, the dead chicken is also meant to represent a defeated adversary. The colour yellow is associated with victory. Another interpretation proposes that Rembrandt designed this painting with several layers of meaning, thus, the Night Watch is symmetrically divided, firstly to illustrate the union between the Dutch Protestants and the Dutch Catholics, and secondly to evoke the war effort against the Spaniards. For instance, according to Rembrandts multilayered design, the taller captain symbolizes the Dutch Protestant leadership, moreover, all characters of this painting were conceived to present double readings. One of the most important aspects of the Night Watch is that the figures are nearly human size, Rembrandt gives the illusion that the characters jump off the canvas and into real space. For much of its existence, the painting was coated with a dark varnish and this varnish was removed only in the 1940s. In 1715, upon its removal from the Kloveniersdoelen to the Amsterdam Town Hall and this was done, presumably, to fit the painting between two columns and was a common practice before the 19th century. This alteration resulted in the loss of two characters on the side of the painting, the top of the arch, the balustrade. This balustrade and step were key visual tools used by Rembrandt to give the painting a forward motion, a 17th-century copy of the painting by Gerrit Lundens at the National Gallery, London shows the original composition. The painting was commissioned by Captain Banning Cocq and seventeen members of his Kloveniers, eighteen names appear on a shield, painted circa 1715, in the centre right background, as the hired drummer was added to the painting for free. A total of 34 characters appear in the painting, Rembrandt was paid 1,600 guilders for the painting, a large sum at the time. This was one of a series of seven paintings of the militiamen commissioned during that time from various artists. The painting was commissioned to hang in the hall of the newly built Kloveniersdoelen in Amsterdam

The Night Watch
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The Night Watch
The Night Watch
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17th century copy with indication of the areas cut down in 1715.
The Night Watch
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The Night Watch rolled around a cylinder inside a crate. The canvas would be stored in this condition throughout the long war years.
The Night Watch
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The sculptures of the Night Watch in 3D at the Rembrandtplein in Amsterdam in 2006-2009

26.
The Woman Taken in Adultery (Rembrandt)
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The Woman Taken in Adultery is a painting of 1644 by Rembrandt, bought by the National Gallery, London in 1824, as one of their foundation batch of paintings. It is in oil on oak, and 83.8 x 65.4 cm, Rembrandt shows the episode of Jesus and the woman taken in adultery from the Gospel of Saint John. In this scene, a few Jews, mainly Scribes and Pharisees, tried to catch Jesus condoning disobedience to the Jewish Law, to do this, they produced a woman who had been caught taking part in adultery. Then, they said Teacher, this woman has caught in the act of adultery. Now in the law Moses commanded us to stone such, what do you say about her. Jesus replied, He that is without sin among you, let him first cast a stone at her, Rembrandt made Jesus appear taller than the other figures and more brightly lit. In contrast, the Jews are in the dark and appear lower, symbolically, Jesuss height represents his moral superiority over those who attempted to trick him. The painting was investigated by the scientists of the National Gallery London, Rembrandt employed his usual limited number of pigments, such as ochres, vermilion, red lakes, lead white, lead-tin-yellow and bone black

The Woman Taken in Adultery (Rembrandt)
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The Woman Taken in Adultery, by Rembrandt

27.
The Mill (Rembrandt)
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The Mill is a painting by Dutch baroque artist Rembrandt Harmenszoon van Rijn. It is in the permanent collection of the National Gallery of Art in Washington DC, for a long time, the attribution to Rembrandt was regarded as doubtful, it has been restored in recent years, although it is not universally accepted. The painting was formerly in the Orleans Collection and it was once owned by Peter Arrell Brown Widener. This painting was documented by Hofstede de Groot in 1915, who wrote,952,601, Bode 142, Dut.452, Wb. Beside a broad moat, high above the scarp of a ruined bastion. The path from the leads, on the left, over a little bridge across a sluice. A woman with a child goes down to the water, a man pushes a barrow upwards, in the centre foreground a woman at the waters edge is washing linen. From the right approaches a ferry-boat with the mast down, rowed by a man, to the right on the farther bank, amid dense groves of trees, are some cows, and beyond them a cottage. The last rays of the sun illumine the right half of the sky, canvas,34 inches by 41 inches. A copy on panel,34 1/2 inches by 39 1/2 inches was exhibited at the Grafton Gallery, London,1911, etched by Mathieu, Dequevauviller, Turner, P. J. Arendzen. Mentioned by Bode, pp.493,579, Dutuit, p.46, Michel, pp.367,555, Waagen, exhibited at the British Institution, London,1815, No. 112, at the Royal Academy Winter Exhibition, London,1878, duc dOrléans,1798, see Buchanan, i.196. In the collection of the Marquess of Lansdowne, Bowood, before 1836, in the collection of P. A. B. A sale notice from the New York Times in 1911 Essay on this painting from the book Beauty and Terror by Brian A. Oard The Mill in the RKD The Mill, in the Rembrandt Research Project

The Mill (Rembrandt)
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The Mill

28.
Head of Christ (Rembrandt)
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The Head of Christ is a 1648 painting by the Dutch artist Rembrandt, based on a Jewish model and thus marking a turning-point in the artists work. It is now in the Gemäldegalerie in Berlin, there are multiple versions of Rembrandts Head of Christ which compose an international collection of paintings in the possession of a number of different cultural institutions and individuals. In 2004, dendrochronological analysis determined that the source of the oak panel—both the original from the seventeenth century—and the main one came from the Baltic/Polish regions, the analysis yielded a probable creation date of 1628 or later. Rowohlt Taschenbuch Verlag, Reinbek 2006, ISBN 3-499-50691-2, duMont Literatur und Kunst, Köln 2006, ISBN 3-8321-7694-2

Head of Christ (Rembrandt)
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This article is about the painting by Rembrandt. For the painting of the same name by Sallman, see Head of Christ.
Head of Christ (Rembrandt)
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Philadelphia panel

29.
Self-portrait (Rembrandt, Vienna)
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Self Portrait is an oil on canvas painting by the Dutch artist Rembrandt. Painted in 1652, it is one of over 40 painted self-portraits by Rembrandt, in composition it is different from his previous self-portraits, depicting the painter in a direct frontal pose, hands on his hips, and with an air of self-confidence. It was painted the year that his financial difficulties began, Art historian Christopher White has called it one of the most magisterial and sombre of these pictures. It is in the Kunsthistorisches Museum in Vienna, the freely painted clothing includes a brown robe that was most likely casual working attire, secured with a sash, over a black doublet with an upturned collar. A drawing from c.1650 shows Rembrandt in much the same pose and attire, in the drawing Rembrandt is seen wearing a top hat, while in the painting he wears a black beret derivative of artists portraits of the 16th century. As in other portraits and self-portraits by Rembrandt, a painted underlayer shows through in areas of shadow, here particularly in the eye sockets. Microscopic analysis has revealed that this is not the ground layer, which is a similar gray color. This local imprimatura, used in preparation for specific areas of the painting, was practiced by Vermeer. A strong similarity has been noted to the self-portrait of c,1655, also in the Vienna Kunsthistorisches Museum. The later work shares the frontal angle, lighting, and informal attire of the larger painting, a painting of Rembrandt son Titus van Rijn, by another artist in the style of Rembrandt, duplicates the pose and positioning of the figure in the Self Portrait. The Kunsthistorisches Museum, Vienna, the paintings, Volume 2,2004, van de Wetering, Ernst, Rembrandt, The Painter at Work, Amsterdam University Press,2000. ISBN 0-520-22668-2 White, Christopher, et al, Kunsthistorisches Museum, Vienna Rembrandts Son Titus, Metropolitan Museum of Art

30.
Aristotle with a Bust of Homer
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Aristotle with a Bust of Homer, also known as Aristotle Contemplating a Bust of Homer, is an oil-on-canvas painting by Rembrandt. It was painted in 1653, as a commission from Don Antonio Ruffo, from Messina in Sicily, Aristotle, world-weary, looks at the bust of blind, humble Homer, on which he rests one of his hands. It has also suggested that this is Rembrandts commentary on the power of portraiture. The interpretation of methodical science deferring to art is discussed at length in Rembrandts Aristotle and Other Rembrandt Studies. The author notes that Aristotles right hand, which rests on the bust of Homer, is higher and painted in lighter shades than the left hand on the gold chain given to him by Alexander. The exact subject being portrayed in this portrait has been challenged in the book by Simon Schama titled Rembrandts Eyes, Schama presents a substantial argument that it was the famous ancient Greek painter Apelles who is depicted in contemplation by Rembrandt and not Aristotle. It was purchased in 1961 for $2.3 million by the Metropolitan Museum of Art in New York City, at the time this was the highest amount ever paid for any picture at public or private sale. During the renovation of the Rembrandt wing of the Metropolitan Museum, the painting forms the central theme of Joseph Hellers 1988 novel Picture This

Aristotle with a Bust of Homer
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Aristotle with a Bust of Homer

31.
Bathsheba at Her Bath (Rembrandt)
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Bathsheba at Her Bath is an oil painting by the Dutch artist Rembrandt finished in 1654. A depiction that is both sensual and empathetic, it shows a moment from the Old Testament story in which King David sees Bathsheba bathing and, entranced, seduces and impregnates her. In order to marry Bathsheba and conceal his sin, David sends her husband into battle and orders his generals to abandon him, the painting hangs in The Louvre, it is one of 583 works donated by Dr. Louis La Caze in 1869. For Kenneth Clark, the canvas is Rembrandts greatest painting of the nude and its insight into Bathshebas moral dilemma has been described as one of the great achievements of western painting. The Second Book of Samuel gives the account of King David who saw a woman bathing from his palace roof, when he asked after her, he was told that she was Bathsheba, daughter of Eliam and wife of Uriah the Hittite. David had his messengers retrieve her, and after they slept together she became pregnant with his child, David was able to marry Bathsheba by sending Uriah into battle where he was killed. Prior to Bathsheba at Her Bath, the treatment had been to show Bathsheba bathing out of doors—thus accounting for her visibility to David—and accompanied by maidservants. A tower could usually be seen in the distance, and perhaps a small figure of David, such was the design Rembrandts earlier The Toilet of Bathsheba, dated 1643. As a result, the theme of previous treatments of the subject is replaced by a direct eroticism in which the viewer supplants David as voyeur. The work is painted as life sized and in a shallow space and it is not known whether Rembrandt painted Bathsheba for his own reasons, or to satisfy a commission. Presumably in response to Rembrandts painting, his ex-pupil and close associate Willem Drost painted Bathsheba with Davids Letter the same year, apart from the lack of anecdotal devices, the painting is unusual in other ways. Bathsheba is presented in a space that is difficult to read, the dark background is suggestive of night, while a massive column implies a large architectural structure. Behind her lies a passage of richly painted drapery composed of browns, around her rests a thickly painted background of white chemise, set against this her naked flesh stands out for its solid form and the sumptuous application of paint. The paint used to describe her figure is richly nuanced, its broad brushstrokes and strong highlights impart a vibrant tactile quality to the body, Bathsheba at Her Bath is a reinterpretation of two antique reliefs familiar to Rembrandt through engravings. A print by Tobias Stimmer may have been influential, as it includes the pillar and it was begun around 1647 and altered and repainted until its completion in 1654. Originally the canvas may have larger and of a vertical format. X-radiographs show that at some point late in the process, he lowered Bathshebas head from its initial more upward angle. There was no letter in her hand in the conception, and it is also possible that her lap, thighs

Bathsheba at Her Bath (Rembrandt)
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Bathsheba at Her Bath
Bathsheba at Her Bath (Rembrandt)
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Rembrandt, The Toilet of Bathsheba, 1643, Metropolitan Museum of Art.
Bathsheba at Her Bath (Rembrandt)
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Willem Drost, Bathsheba with David's Letter, 1654.
Bathsheba at Her Bath (Rembrandt)
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A Woman Bathing in a Stream, 1655, National Gallery, London, was painted by Rembrandt at about the same time as Bathsheba and shares a similar spirit of intimacy.

32.
Virgin and Child with a Cat
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The Dutch artist Rembrandt van Rijn occupies a unique a position in the history of prints as he does in the history of painting. Etchings such as the The Virgin and Child with a Cat, of 1654 and it is to Rembrandt that generations of etchers have constantly looked for inspiration. In its collection, the Victoria and Albert Museum has both one of the earliest impressions of this etching and the copper plate from which the image is taken. This print shows a scene of maternal affection but it is also a powerful piece of Christian symbolism. While the cat on the left is playing with the Virgins hem, the Virgin is treading on the snake, symbolising her role as the new Eve, who will triumph over original sin. Joseph looks in from outside the window, symbolising his closeness to, but also his separation from, the pattern of the windows glazing creates the impression of a halo around the Virgins head. ISBN 1-85177-365-7 Media related to The Virgin and the Child with the Cat and Snake at Wikimedia Commons

33.
Portrait of Jan Six
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Portrait of Jan Six is a 1654 painting by the Dutch painter Rembrandt van Rijn. Having been handed down many generations, via the direct descendants of the subject, Jan Six. This painting was documented by Hofstede de Groot in 1915, who wrote,712 and he stands, seen in full face, turned slightly to the left with his head bent over a little on the right shoulder, and looks straight out of the picture. He is about to go out, he has put his black felt hat on his long fair reddish hair, and with the right hand. He wears a grey coat with yellow buttons, over the left shoulder hangs a short bright red cloak with a collar. He has a collar and pleated wristbands. The light falls from the left at top on the whole figure, the date is known from the couplet written by J. Six himself, AonlDas qVI sVM tenerls VeneratVs ab annls TaLIs ego lanVs SIXIVs ora tVLI, the sum of the capitals, M, D, L, X, V, I, gives the date 1654. Canvas,44 1/2 inches by 40 1/2 inches, etched by P. J. Arendzen, by W. Steelink in Van Someren, Oude Kunst in Nederland, by Desboutin. Mentioned by Vosmaer, pp.273,556, Bode, pp.532,558, Dutuit, p.54, Michel, pp.452,565, Hofstede de Groot, Urkunden, No. 151, Professor Jan Six, Oud Holland, xi. p.156, Moes, exhibited at Amsterdam,1872, and 1900, No.127. Painted for the sitter, and since preserved in his family, in the collection of J. Six, Amsterdam. Free from all external hindrances, he could create, he no longer aimed at securing so exact a likeness of his sitter. Altman, the Nicolaes Bruyningh at Cassel, and above all the Jan Six at Amsterdam, list of paintings by Rembrandt Rkd. nl, Jan Six — in the RKD

34.
The Polish Rider
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The Polish Rider is a seventeenth-century painting, usually dated to the 1650s, of a young man traveling on horseback through a murky landscape, now in The Frick Collection in New York. When the painting was sold by Zdzisław Tarnowski to Henry Frick in 1910 and this attribution has since been contested, though this remains a minority view. There has also been debate whether the painting was intended as a portrait of a particular person, living or historical. Both the quality of the painting and its air of mystery are commonly recognized. The first western scholar to discuss the painting was Wilhelm von Bode who in his History of Dutch Painting stated that it was a Rembrandt dating from his late period, somewhat later, Abraham Bredius examined the picture quite closely and had no doubts that its author was Rembrandt. At the beginning of the century, Alfred von Wurzbach suggested that Rembrandts student Aert de Gelder might have been the author. Though the mysterious and somewhat solemn expression on the Riders brilliantly painted face point to Rembrandt, in particular, Rembrandt rarely worked on equestrian paintings, the only other known equestrian portrait in Rembrandts work being the Portrait of Frederick Rihel,1663. Those few scholars who still question Rembrandts authorship feel that the execution is uneven, a 1998 study published by the RRP concluded that another artists hand, besides that of Rembrandt, was involved in the work. Rembrandt may have started the painting in the 1650s, but perhaps he left it unfinished, the idealised, inscrutable character has encouraged various theories about its subject, if the picture is a portrait. Others believe that the outfit of the rider, the weapons, Dutch equestrian portraits were infrequent in the 17th century and traditionally showed a fashionably dressed rider on a well-bred, spirited horse, as in Rembrandts Frederick Rihel. Historical characters have also suggested, ranging Old Testament David to the Prodigal Son. A “soldier of Christ”, a representation of a mounted soldier defending Eastern Europe against the Turks. The young rider appears to people to face nameless danger in a bare mountainous landscape that contains a mysterious building, dark water. In 1944, the American Rembrandt scholar Julius S, held contested the claim that the subject was Polish and suggested the riders costume could be Hungarian. Two Polish scholars suggested in 1912 that the model for the portrait was Rembrandts son Titus, stanislaus II Augustus of Poland, Warsaw,1793. Countess Waleria Stroynowska Tarnowska, of Dzików, Galicia,1834, Henry Frick,1910, bequeathed to the Frick Collection. In 1993 the artist Russell Connor painted a portrait in the style of Rembrandt showing the Dutch master, palette in hand, a Polish Nobleman, a painting by Rembrandt Thomas M. Prymak, Rembrandts Polish Rider in its East European Context, The Polish Review, vol

The Polish Rider
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The Polish Rider

35.
The Anatomy Lesson of Dr. Deijman
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The Anatomy Lesson of Dr. Deijman is a 1656, fragmentary painting by Rembrandt, now in Amsterdam Museum. It is a portrait showing a brain dissection by Dr Jan Deijman. Much of the canvas was destroyed in a fire in 1723, the painting shows Dr. Deijman performing a brain dissection on the cadaver of an executed criminal, the Flemish tailor Joris Black Jack Fonteijn. Dr. Deijmans assistant, the surgeon Gijsbert Calkoen, is seen on the left, the Anatomy Lesson of Dr. Nicolaes Tulp Lamentation of Christ amsterdammuseum. nl

The Anatomy Lesson of Dr. Deijman
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The Anatomy Lesson of Dr. Deijman
The Anatomy Lesson of Dr. Deijman
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Preparatory sketch for the work.

36.
Moses Breaking the Tablets of the Law
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Moses Breaking the Tablets of the Law is a 1659 painting by the Dutch artist Rembrandt. It is now in the Gemäldegalerie, Berlin, duMont Literatur und Kunst, Köln 2006

Moses Breaking the Tablets of the Law
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Moses Breaking the Tablets of the Law

37.
Self-Portrait with Beret and Turned-Up Collar
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Self-Portrait with Beret and Turned-Up Collar is a 1659 oil on canvas painting by the Dutch artist Rembrandt, one of over 40 self-portraits by Rembrandt. Part of the Andrew W. Mellon Collection, it has been in the National Gallery of Art since 1937, in Self-Portrait with Beret and Turned-Up Collar Rembrandt is seated in a broadly painted fur cloak, his hands clasped in his lap. Light from the upper right fully illuminates the face, hollowing the form of the cheek, the most luminous area, the artists face, is framed by a large beret and the high collar that flatteringly hides his jowls. The skin of the face is modeled with thick, tactile pigment, painted with rich, the folded hands and the left arm covered in dark fabric are similar to the Raphael portrait. Also reminiscent of the Raphael painting are the positioning of the head and torso and it has been suggested that this difference in angle was an intentional variation from the series of self-portraits he was painting at the time. Self-Portrait with Beret and Turned-Up Collar derives from the period as the more finished. Both the clothing and physical condition of the face suggest a close to 1659. The same clothing appears in a small, unfinished Self-Portrait with Beret in the Musée Granet, less finished than many other self-portraits by Rembrandt, the rich expressiveness of brushwork, especially in the face, has merited attention. In some passages the manipulation of pigment appears independent of the forms being described, for Rembrandt researcher Ernst van de Wetering The paint seems to have been applied, as it were, with a shaving brush. Strokes of thick paint, warm in tone, pool up to represent areas of reflected light on the forehead, nose, adjacent to these passages, at the temple, around the furrows of the right eye and the wing of the nostril, are interstices of green-gray underpainting. The right eyeball is painted with a series of transparent glazes, the practice of surface variation as a means of illusionism--kenlijkheyt, or perceptibility--was understood by some of Rembrandts contemporaries. Even so, the differences between the paint application in the face and passages of the drapery and background are unusual for a late self-portrait. The overall impression is that of a work, one that presents the subject as marked by experience yet ultimately resolute in dignity. The original support is a canvas of fine thread, and has been lined, the painting has two grounds, one a thick red-brown, the other a thin gray. The figure was drawn with brown underpaint left exposed in several places. The face and hands are in good condition, extensively damaged areas in the figure and background have been covered with black overpainting, some of which was removed during a 1992 restoration. It was then owned by John Charles, 7th Duke of Buccleuch, and was purchased in 1929 by Andrew W. Mellon, Mellon Educational and Charitable Trust in 1934. The painting was gifted to the National Gallery of Art in 1937, ackley, Clifford S. Rembrandts Journey, Painter•Draftsman•Etcher

Self-Portrait with Beret and Turned-Up Collar
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Self-Portrait with Beret and Turned-Up Collar
Self-Portrait with Beret and Turned-Up Collar
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Titian, A Man with a Quilted Sleeve
Self-Portrait with Beret and Turned-Up Collar
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Raphael, Portrait of Baldassare Castiglione
Self-Portrait with Beret and Turned-Up Collar
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Self-portrait Leaning on a Stone Sill, etching, 1639. This etching and the painted self-portrait of 1640 were inspired by paintings by Raphael and Titian.

38.
Self-portrait (Rembrandt, Altman)
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Self-Portrait is a 1660 oil on canvas painting by the Dutch artist Rembrandt, one of over 40 self-portraits by Rembrandt. Painted when the artist was fifty-four, it has noted as a work in which may be seen the wrinkled brow. Part of the Benjamin Altman Collection, it has been in the Metropolitan Museum of Art since 1913, the Altman portrait is dated 1660, when he was fifty-four years old. This was a year of anxiety for him and he had just been declared bankrupt. He saw his collection of art treasures disposed of at auction and himself deserted by his pupils and his friends, in this portrait we have a work of mature years, when he brought all the skill and resources of a lifetime to its creation. The lift of the eyebrows that wrinkle his forehead is that of whimsical impatience, the mouth is drawn and the mark of undeserved neglect is evident in the premature wrinkles, but a certain merry pride lurks in the tilted cap and raised head. A pang of pity shoots through us, only to be replaced by one of satisfaction that he, the neglected, is remembered and they. Though this great artist lived several years longer, they were years of misery and his great reputation suffered an almost total eclipse, although to-day he is probably the most popular painter that ever lived. Yet he never lost his courage, and as we see him in this portrait he carries his head bravely and wears his hat jauntily, as if in defiance of the evils that engulfed him. Heretofore we may have felt acquainted with Rembrandt the painter, but now we know Rembrandt the man, technically this portrait shows Rembrandt at his best. The hat, a black, and the background, a warm green, are smoothly painted. Over a red waistcoat Rembrandt wears a heavy, brownish coat, Frick, will find a comparison of the moods of that picture and our work an interesting one. In the portrait owned by Mr. Frick, though it was painted in a troubled time, he paints himself as though he were a philosopher or prophet to whom all things. In the Altman picture he is prematurely aged by his troubles and is pestered with worries and his forehead is wrinkled and the mouth is drawn, but the cap is tilted a little jauntily on one side and the head is erect and proud. This article incorporates text from Century illustrated monthly magazine, by A. T, van Lear, a publication from 1916 now in the public domain in the United States. This article incorporates text from What pictures to see in America, by Lorinda Munson Bryant and this article incorporates text from Handbook of the Benjamin Altman collection, by Metropolitan Museum of Art, a publication from 1914 now in the public domain in the United States. The Metropolitan Museum of Art Long Island University Copy at Victoria & Albert Museum

39.
Ahasuerus and Haman at the Feast of Esther
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The painting Ahasveros and Haman at the Feast of Esther is one of the few works of Rembrandt van Rijn whose complete provenance is known. The origin of the painting can be traced back to 1662, the subject is an episode from chapters 5-7 of the book of Esther in the Old Testament. The Jews were saved by the intercession of Mordechais cousin Esther and it is this rescue that is still celebrated in the Jewish festival of Purim. In that festival, Haman is portrayed as the villain, according to the Pushkin Museum this is one of the best creations of Rembrandts late period. Rembrandt was inspired by the play Hester, by Johannes Serwouters, the playwright was first performed in 1659 in the Schouwburg of Van Campen and dedicated to Leonore Huydecoper, the daughter of Joan Huydecoper van Maarsseveen. Serwouters wrote his play as a reaction to the pogroms in Eastern Europe and her husband may have ordered the painting, in this way helping Rembrandt being in financial difficulties. After its completion in 1660, Rembrandt sold the painting Ahasuerus, in the year 1662 a poetry book by Jan Vos was published, in which there were a number of poems based on the paintings belonging to Jan J. Hinlopen. Jan Vos describes the painting as following, Here one sees Haman eating with Ahasuerus, but it is in vain, his breast is full of regret and pain. He eats Esthers food, but deeper into her heart, the king is mad with revenge and rage. Part of Jan Hinlopens collection passed to his two daughters, this painting was one of them, sara Hinlopen, the longest living of her family, died 89 years old, but without children. Most of her belongings passed to Nicolaes Geelvinck and his three sisters, unfortunately, her will does not mention any painting, most probably to avoid inheritance taxes. In 1764 the painting came to Catherine the Great, most probably through the German entrepreneur Johann Ernst Gotzkowsky, after receiving 320 paintings at one time from Gotzkowsky, the Russian Tsarina started the Hermitage. Probably advised by Gustav Friedrich Waagen the painting went in 1862 to the Museum Rumyantsev in Moscow, since 1924 Ahasuerus and Haman at the Feast of Esther can be seen in the Pushkin Museum, also in Moscow

Ahasuerus and Haman at the Feast of Esther
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Ahasuerus and Haman at the Feast of Esther
Ahasuerus and Haman at the Feast of Esther
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Engravure of the Playhouse Van Campen in 1658 by Salomon Savery

40.
The Denial of Saint Peter (Rembrandt)
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The Denial of Peter is a 1660 painting by Rembrandt, now in the Rijksmuseum in Amsterdam. Rembrandt never made a journey to Italy, as many of his contemporaries did and it is therefore thought that his treatment of themes such as the Denial derived substantially from prints based on foreign works. In this case there are two engravings, both based on paintings by the Flemish artist Gerard Seghers, which are implicated in Rembrandts Denial, the first is by Schelte a Bolswert, the second an engraving by one A. de Paullis. Roberta DAdda, Rembrandt, Milano, Skira,2006

The Denial of Saint Peter (Rembrandt)
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The Denial of Saint Peter

41.
The Conspiracy of Claudius Civilis
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The Conspiracy of Claudius Civilis is a 1661–62 oil painting by the Dutch painter Rembrandt, which was originally the largest he ever painted, at around five by five metres in the shape of a lunette. The painting was commissioned by the Amsterdam city council for the Town Hall, after the work had been in place briefly, it was returned to Rembrandt, who may have never been paid. Rembrandt drastically cut down the painting to a quarter of the size to be sold. It is the last secular painting he finished. Civilis, Tacitus writes, was intelligent for a native, and passed himself off as a second Sertorius or Hannibal, whose facial disfigurement he shared—that is to say. He feigned friendship with Emperor Vespasian in order to regain his freedom, when he returned to his tribal grounds in the marshes of the Betuwe, he organized the revolt he had long been planning. The painting was commissioned for the gallery of the new city hall on the Dam, the work was then shared out by the burgomasters Joan Huydecoper and Andries de Graeff, who were certainly decisive, between a number of painters including Jacob Jordaens and Jan Lievens. The council provided the canvas to the artist, Rembrandt was commissioned to do the scene from Tacitus, one of eight intended to cover the revolt in the original scheme. The sword-oath was invented by Rembrandt, in the following year, the States General had commissioned a set of twelve paintings by Van Veen on the same subject for The Hague. These baroque works had entered the popular imagination as depictions of the revolt, Van Veen followed baroque ideas of decorum by always showing Civilis in profile, with only his good eye visible. A sketch survives that shows that he had transferred the scene from Tactituss sacred grove to a vaulted hall with open arches. When all four paintings were in place, the discrepancy was evident, the council probably expected something similar in style, rather than the ominous grandeur of Rembrandts conception. The chiaroscuro is typical of Rembrandts late works, but the light and shadow. In August 1662, when the painting was there, Rembrandt signed an agreement giving a quarter-share of his profits accruing from the piece for the City Hall. By 24 September 1662, however, when the archbishop and elector of Cologne Maximilian Henry of Bavaria was received in the town hall, Rembrandts painting was gone. One objection may well have been the crown that Rembrandt had set upon Claudius Civiliss head and his dominating the scene, hardly features of a consultative. Blankert suggested that the painting had too much dark, unused space, for Kenneth Clark, Crenshaw writes that Rembrandt was away for a couple of months, and. He did not have enough supporters in the places when obstacles arose

The Conspiracy of Claudius Civilis
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central fragment
The Conspiracy of Claudius Civilis
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Inside the palace on the second floor, with one of the lunettes by Jordaens
The Conspiracy of Claudius Civilis
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Funeral ticket sketch detail. Rectangle shows the approximate location of the original cut down painting
The Conspiracy of Claudius Civilis
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Floorplan second floor (1661) Rembrandt's Conspiracy was in the lower left corner

42.
Self-Portrait as the Apostle Paul
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Self-portrait as the Apostle Paul is one of over 40 painted self-portraits by Rembrandt, painted in 1661 by the Dutch artist Rembrandt. It is now in the Rijksmuseum in Amsterdam, self-portrait as the Apostle Paul, Rembrandt Harmensz

Self-Portrait as the Apostle Paul
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Self-portrait as the Apostle Paul

43.
Portrait of Dirck van Os
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The Portrait of Dirck van Os is a later painting by Rembrandt, created circa 1658. It is currently in the permanent collection of the Joslyn Art Museum in Omaha, in 1898, the portrait was acquired by a New York art dealer from a private collector in St. Petersburg, Russia. In 1899, the portrait was sold to Boston businessman Frederick Sears, the painting was purchased by the Joslyn Museum in 1942 from a private collection. Initially believed to have been painted by Rembrandt himself, the painting was later reclassified as a painting from the School of Rembrandt, the likely work of one of Rembrandts students. In the spring of 2012, under the guidance of Ernst van de Wetering, one of the worlds foremost authorities on Rembrandt, martin Bijl, former head of restoration at the Rijksmuseum in Amsterdam, worked with van de Wethering on the paintings conservation. The determination that the painting was a true Rembrandt was made during the conservation process, the subject depicted in the painting is Dirck van Os III, a prominent Dutch citizen. He was the son of Dirck van Os, an Amsterdam merchant, insurer, financier, the elder van Os was one of the founders of the Compagnie van Verre, the Amsterdam Exchange Bank, and the United East India Company. The painting shows van Os as a man, seated holding a cane in his left hand, donning a black robe with white collar and cuffs. During the restoration process, it was determined that later additions to the painting included lace around the collar, the embellishments were removed during the restoration process. The restored painting was unveiled in the Joslyn Art Museums Hitchcock Foundation Gallery on May 5,2014 and is part of the permanent collection. In November 2016 the Joslyn Art Museum unveiled a newly commission frame for the painting, the painting was originally displayed in an ornate gilded Louis XIV frame, which framed the portrait when it was acquired by the museum in 1942. The new frame is less ornate, the frame was paid for by the Joslyn Art Museum Association. Joslyn Art Museum Website A Web Catalogue of Rembrandt Paintings

45.
The Jewish Bride
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The Jewish Bride is a painting by Rembrandt, painted around 1667. This interpretation is no longer accepted, and the identity of the couple is uncertain, the ambiguity is heightened by the lack of anecdotal context, leaving only the central universal theme, that of a couple joined in love. Speculative suggestions as to the couples identity have ranged from Rembrandts son Titus and his bride, or Amsterdam poet Miguel de Barrios, also considered are several couples from the Old Testament, including Abraham and Sarah, or Boaz and Ruth. The likeliest identification, however, is that of Isaac and Rebekah, as described in Genesis 26,8, according to Rembrandt biographer Christopher White, the completed composition is one of the greatest expressions of the tender fusion of spiritual and physical love in the history of painting. The painting is in the permanent collection of the Rijksmuseum Amsterdam, the Jewish Bride at the Rijksmuseum Amsterdam. Portrait of a couple as Isaac and Rebeccah, known as The Jewish Bride in the RKDimages database

The Jewish Bride
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The Jewish Bride
The Jewish Bride
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Detail of the hands
The Jewish Bride
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Drawing of Isaac and Rebeccah spied upon by Abimelech, by Rembrandt, ca. 1662
The Jewish Bride
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Other Jewish Bride, by Rembrandt, 1641

46.
The Return of the Prodigal Son (Rembrandt)
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The Return of the Prodigal Son is an oil painting by Rembrandt. It is among the Dutch masters final works, likely completed within two years of his death in 1669, petersburg may be forgiven for claiming as the greatest picture ever painted. In the painting, the son has returned home in a state from travels in which he has wasted his inheritance and fallen into poverty. He kneels before his father in repentance, wishing for forgiveness and his father receives him with a tender gesture. His hands seem to suggest mothering and fathering at once, the left appears larger and more masculine, set on the shoulder, while the right is softer. But when this, your son, came, who has devoured your living with prostitutes, you killed the fattened calf for him. —Luke 15, 29–30, World English Bible The father explains, But it was appropriate to celebrate and be glad, for this, your brother, was dead and he was lost, and is found. Rembrandt was moved by the parable, and he made a variety of drawings, etchings, the Return of the Prodigal Son includes figures not directly related to the parable but seen in some of these earlier works, their identities have been debated. The woman at top left, barely visible, is likely the mother, while the man, whose dress implies wealth. The standing man at centre is likely the elder son, the Return of the Prodigal Son demonstrates the mastery of the late Rembrandt. His evocation of spirituality and the message of forgiveness has been considered the height of his art. Goes beyond the work of all other Baroque artists in the evocation of religious mood, the aged artists power of realism is not diminished, but increased by psychological insight and spiritual awareness. The observer is roused to a feeling of some extraordinary event, the whole represents a symbol of homecoming, of the darkness of human existence illuminated by tenderness, of weary and sinful mankind taking refuge in the shelter of Gods mercy. Art historian H. W. Janson writes that Prodigal Son may be most moving painting and it is also his quietest—a moment stretching into eternity. So pervasive is the mood of tender silence that the viewer feels a kinship with this group and that bond is perhaps stronger and more intimate in this picture than in any earlier work of art. He begins by describing his visit to the State Hermitage Museum in 1986, considering the role of the father and sons in the parable in relation to Rembrandts biography, he wrote, Rembrandt is as much the elder son of the parable as he is the younger. Both needed the embrace of a forgiving father, but from the story itself, as well as from Rembrandts painting, it is clear that the hardest conversion to go through is the conversion of the one who stayed home. The Biblical Rembrandt, human painter in a landscape of faith, horst Woldemar Janson, Anthony F. Janson

47.
List of drawings by Rembrandt
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The following is a list of drawings by Rembrandt that are generally accepted as autograph. List of paintings by Rembrandt List of etchings by Rembrandt Rembrandt Drawings,116 Masterpieces in Original Color

List of drawings by Rembrandt
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Old Man Reading a Book
List of drawings by Rembrandt
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The drawing is related to the painting W27
List of drawings by Rembrandt
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Study of the legs of a seated woman
List of drawings by Rembrandt
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The drawing is related to the painting W37

48.
Hundred Guilder Print
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The Hundred Guilder Print is an etching by Rembrandt. The etchings popular name derives from the sum of money supposedly once paid for an impression. The rich young man mentioned in the chapter is leaving through the gateway on the right, in this work, Rembrandt broke from the long-standing Northern European tradition of ascribing devotional qualities to religious paintings. Instead, Rembrandt depicted Biblical events as tender instances of piety and serenity, the print is reminiscent of many other Christian religious artworks because it clearly focuses on the figure of Jesus in the centre of the scene. It differs, however, in that it is not based on a biblical story. Through his use of figures, Rembrandt illustrates various themes. Thus, the etching served a purpose for Rembrandts original audience because it presents many religious messages all packed together. Rembrandt worked on the Hundred Guilder Print in stages throughout the 1640s and he probably completed it in 1649. Although the print only survives in two states, the first very rare, evidence of much reworking can be seen underneath the final print and many drawings survive for elements of it. Around 1775, Captain William Baillie printed an 100 impression edition of an extensively re-worked, by his own hand and he acquired the plate, already worn down by repeated printings, from the painter and engraver John Greenwood. As an engraver himself, Biallie attempted to restore the work, after his edition, Baillie cut the plate into four pieces, reworked them further, and had them printed as separate images. To the reduced center fragment with Christ, he added the frame of an arch, while the number of copies Rembrandt printed is unknown, the Hundred Guilder Print is known to be held in the following collections, National Gallery of Art, Washington D. C. British Museum Frick Collection Museum of Fine Arts, Boston including Biallie prints Metropolitan Museum of Art Oberlin College, Allen Memorial Art Museum Rijksmuseum

49.
The Three Crosses
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The Three Crosses is an etching and drypoint by the Dutch artist Rembrandt van Rijn, which depicts the crucifixion of Jesus Christ. It is considered one of the most dynamic prints ever made, the main subject in the etching is Jesus Christ on the cross, flanked by the two thieves who were crucified with him. The etching depicts the Virgin Mary, mother of Jesus, weeping, roman soldiers on horseback, along with grieving citizens, surround the crosses. A beam of light, representing Gods light from heaven, pierces the sky to envelope the crucified figure of Christ. The etching is noted for its especially intricate iconography, and may represent the moment of Christs death. According to Paul Crenshaw of the Kemper Art Museum, Rembrandt was inspired by the text from Matthew 27, 46-54 when Christ cried out, “My God, my God, why hast Thou forsaken Me. ”Rembrandt drew heavily on biblical sources in his work, as well as being influenced by other Baroque contemporaries. The etching is one of over 300 Bible-inspired works Rembrandt created, the Three Crosses does not allow for dramatic contrasts of light and shade, known as chiaroscuro. Rembrandt produced the work in four stages, increasing the effects of the light, etching and drypoint are labor-intensive processes and one of the early forms of printmaking. Rembrandt chose these media primarily because he suffered financial hardship. He sold many of his etchings in order to be able to afford to print The Three Crosses. Rembrandt made around sixty impressions from the plate in its first three stages, the darkest shadows on the piece being done in dry point, and Christ, in the last stage, the Virgin Mary becomes an almost disembodied head surrounded by darkness. The figures originally encircling her have been removed, as have some of the soldiers on horseback. A man in a hat has been added and is believed to be a figure from Rembrandt’s The Conspiracy of Claudius Civilis. The most dramatic alteration is to the light which has become considerably darkened. Rembrandt may have intended the contrast between the light and darkness surrounding it to distinguish the good thief from the bad thief. Each progressive change in the work increases the importance of the Christ figure. In its fourth and fifth state, Rembrandt inked the plates in a different number of ways, one of the prints in the fourth stage is located at the Kemper Art Museum

The Three Crosses
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Etching by Rembrandt, 1653

50.
Saskia van Uylenburgh
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Saskia van Uylenburgh was the wife of painter Rembrandt van Rijn. In the course of her life she was his model for some of his paintings, drawings and etchings and she was the daughter of a Frisian mayor. Asteroid 461 Saskia is named in her honour, Saskia was orphaned by age 12, as her mother died in 1619 and her father five years later. Saskia was raised by her sister Hiskje and her husband, Gerard van Loo, for a while she lived in Franeker when her sister Antje was ill. After Antjes burial, Saskia assisted her brother-in-law, the Polish theology professor Johannes Maccovius, in 1631 and in the company of the Mennonite painters Govert Flinck and Jacob Backer, Saskia traveled to Amsterdam. There she met Rembrandt, who produced paintings and portraits for Uylenburghs Amsterdam clients, in turn Rembrandt travelled to Leeuwarden, where he was received by the painter Wybrand de Geest, who had married Saskias niece. Saskia and Rembrandt were engaged in 1633, and on 10 June 1634 Rembrandt asked permission to marry in Sint Annaparochie and he showed his mothers written consent to the schepen. On 2 July the couple married, the preacher was Saskias cousin, but evidently none of Rembrandts family attended the marriage. In 1635 the couple moved to one of the most desirable addresses in Amsterdam, the Nieuwe Doelenstraat, with prominent neighbors, Rembrandt gained financial success through his artwork, and decided in 1639 to buy a house in the Jodenbreestraat, next to the place where he worked. A year before, by July 16,1638, Saskias Friesian relatives complained that Saskia was spoiling her inheritance, Rembrandt asked his brother-in-law Ulricus van Uylenburgh, also a lawyer, to help them out, confirming he was successful and able to pay for the house. Three of their children died shortly after birth and were buried in the nearby Zuiderkerk, the sole survivor was Titus, who was named after his mothers sister Titia van Uylenburgh. Saskia died the year after he was born, in Amsterdam, aged 29 and she was buried in the Oude Kerk. For ten years Rembrandt focused on drawings and etchings, Saskia allowed Rembrandt to use their sons inheritance as long as he did not remarry. If Titus died without issue, Rembrandt would be the heir of the moveable property, Rembrandt hired Geertje Dircx as a wetnurse, in 1649 she expected him to marry her. The next year Rembrandt had her locked up in a house of correction when Hendrickje Stoffels became his new housekeeper, in 1662 Rembrandt, having been in financial trouble for several years, sold Saskias grave. The Embarrassment of Riches, An Interpretation of Dutch Culture in the Golden Age Driessen, Christoph, Rembrandts vrouwen, graaff, A. & M. Roscam Abbing Rembrandt voor Dummies

51.
Geertje Dircx
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Geertje Dircx was the lover of Rembrandt van Rijn after the death of his wife Saskia. She was hired as a wetnurse to the painters son Titus, the relationship broke up acrimoniously, leading to a lengthy court-case for breach of promise, in which she claimed maintenance from Rembrandt. She was eventually imprisoned after displaying increasingly unstable behaviour, after her release she tried to sue Rembrandt for wrongful imprisonment. She may be the model for a number of Rembrandts works, between 1630 and 1640, she worked in an inn in Hoorn. At some point she was married to Abraham Claesz, a trumpeter, after that she lodged with her brother Pieter, a ships carpenter in Waterland. It was possibly through him that she got to know Rembrandt and she entered Rembrandts service in around 1643, as a childless widow. She lived with Rembrandt for six years in the Sint Antoniesbreestraat and nursed his son Titus and he gave her a number of rings that had belonged to his deceased wife, Saskia van Uylenburgh, a gesture not much appreciated by Saskias family. A few years later Geertje would expect Rembrandt to marry her, in May 1649 she and Rembrandt quarreled, probably as a consequence of Rembrandts new relationship with his housekeeper Hendrickje Stoffels. In June, Geertje rented a room above a seamens bar, in October Geertje complained that she had to pawn jewellery in order to survive. Rembrandt paid her 200 guilders to redeem the jewellery and agreed to increase her stipend to 160 guilders a year, Geertje, however, refused to accept this settlement, claiming that it would not cover her expenses if she became seriously ill or infirm. When Geertje came to sign the agreement with Rembrandt, she kicked up a scene and she would not listen to the notary reading out the contract, and refused to sign to the agreement. She summoned Rembrandt before the Commissioners of Marital Affairs on a charge of breach of promise, the commissioners raised the annual sum to 200 guilders. The court particularly stated that Rembrandt had to pay an allowance, provided that Titus remained her only heir. However, Geertje continued to demand money from Rembrandt, possibly to the point of blackmail and her demands and accusations led Rembrandt to request that she be locked up in the spinhuis in Gouda, a womens house of correction, sometimes referred to as an insane asylum. Historian Patrick Hunt describes it as prison for destitute and diseased prostitutes as well as an asylum for the mentally unhinged. Geertje probably lived up to the latter requisite by ranting and raving most vehemently, historians have had differing views about the facts behind this dispute. It seems that her brother and nephew, along with a number of Geertjes neighbours and she was condemned to twelve years confinement. In 1652 she petitoned for her release, but was refused, a friend of hers named Trijn Jacobs eventually managed to persuade the council to intervene on her behalf and Geertje was freed from prison, having been confined for five years

Geertje Dircx
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This drawing by Rembrandt is believed to depict Geertje Dircx.
Geertje Dircx
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Sarah waiting for Tobias (1647?). National Gallery of Scotland, Edinburgh. According to Gary Schwartz, the woman in the picture could be Dircx or Hendrickje Stoffels.

52.
Hendrickje Stoffels
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Hendrickje Stoffels was the longtime lover of Rembrandt. The couple were unable to marry because of the financial settlement linked to the will of Rembrandts deceased wife Saskia, in 1654 she gave birth to Rembrandts daughter Cornelia. In the later years of their relationship Hendrickje managed Rembrandts business affairs together with the painters son Titus, Hendrickje is widely believed to have modelled for several of Rembrandts works and to be depicted in some Tronie portraits. However, her role as Rembrandts model is disputed by some critics, Hendrickje was born in the garrison city of Bredevoort, Gelderland, the daughter of sergeant Stoffel Stoffelse and Mechteld Lamberts. Sergeant Stoffel Stoffelse was Jager for the castle at Bredevoort and so was also nicknamed Jeger, with his children nicknamed Jegers, Hendrickje had three brothers, Hermen, Berent and Frerick. Hermen and Berent were longtime soldiers in Bredevoort, never serving elsewhere, Berent and Frerick both died young. Hendrickje had a sister, Martijne Jegers, and perhaps also another sister, Martijne married Jan Kerstens Pleckenpoel from Lichtenvoorde, who was another soldier in Bredevoort. After his death Martijne remarried, to Berent van Aelten, Hendrickjes father almost certainly died in July 1646, the victim of an explosion of the gunpowder tower in Bredevoort. In January 1647, after the normal mourning time of half a year, his widow Mechteld Lamberts remarried to a neighbour, Jacob van Dorsten, as a consequence of her mothers marriage, Hendrickje seems to have been constrained to leave home for Amsterdam. Hendrickje obtained work as Rembrandts housekeeper, and seems to have lived with him from approximately 1647, at first as a maid, but fast becoming much more. This led to a fallout with Rembrandts previous live-in lover Geertje Dircx, who sued Rembrandt for breach of promise in 1649. Hendrickje testified in the case, confirming that an agreement had been reached with Geertje. In the same year Hendrickje returned to Bredevoort for the summer, the Eighty Years War was past, and peace was finally reaching even the eastern Netherlands. In 1654, when she was pregnant with Rembrandts daughter, Hendrickje had to appear before the council for living in sin with Rembrandt. She admitted that she had committed the acts of a whore with Rembrandt the painter and was banned from receiving communion, on 30 October 1654, the couples daughter Cornelia van Rijn was baptized in the Oude Kerk in Amsterdam. Initially, Rembrandts unwillingness to marry Hendrickje had a pecuniary motive, even with this inheritance he had major financial problems, but without it he would have been bankrupt. But then in 1655, Titus – the son he had with Saskia – turned 14, Rembrandt immediately made sure that Titus installed him as his only heir and by that he outwitted Saskia. Still, he did not marry Hendrickje, by 1656 Rembrandt was forced to declare bankruptcy

Hendrickje Stoffels
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Portrait of Hendrikje Stoffels, c.1654-6, oil on canvas, 101.9 x 83.7 cm; National Gallery, London
Hendrickje Stoffels
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Hendrickje may have been a model for Bathsheba at Her Bath (1654).
Hendrickje Stoffels
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Statue of Hendrickje Stoffels at square 't Zand in Bredevoort

53.
Pieter Lastman
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Pieter Lastman was a Dutch painter. Lastman is considered important because of his work as a painter of history pieces and because his pupils included Rembrandt, in his paintings Lastman paid a lot of attention to the faces, hands and feet. Pieter Lastman was born in Amsterdam, the son of a town-beadle and his mother was an appraiser of paintings and goods. His apprenticeship was with Gerrit Pietersz Sweelinck, the brother of Jan Pieterszoon Sweelinck, between approximately 1604 and 1607 Lastman was in Italy, where he was influenced by Caravaggio and by Adam Elsheimer. Back in Amsterdam he moved in with his mother in the Sint Antoniesbreestraat, Lastman never married although he promised to marry the sister of Gerbrand Adriaensz Bredero. Because of his health Lastman moved in with his brother in 1632 and he died the next year and was buried in the Oude Kerk on 4 April 1633. Because Rembrandt never visited Italy, it is likely that he was influenced by Caravaggio mainly or significantly via Lastman and his pupils besides Rembrandt and Lievens were Bartholomeus Breenbergh, Nicolaes Lastman, Pieter Pieterz Nedek and Jan Albertsz Rotius. ^ Murray, P. & L. Penguin dictionary of art and artists, p.287, 436–438

54.
Jan Lievens
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Jan Lievens was a Dutch painter, usually associated with Rembrandt, working in a similar style. According to Arnold Houbraken, Jan was the son of Lieven Hendriksze, a tapestry worker and he was sent to Pieter Lastman in Amsterdam at about the age of 10 for two full years. After that he began his career as an independent artist, at about the age of 12 in Leiden and he became something of a celebrity because of his talent at such a young age. Specifically, his copy of Democriet & Herakliet by Cornelis van Haarlem, and this attracted the attention of Maurice of Nassau, Prince of Orange, around 1620, who bought a life-size painting of a young man reading by the light of a turf-fire. He gave this painting in turn to the English Ambassador, who presented it to James I and this was the reason why, when Lievens was 31, he was invited to the British court. When he returned from England via Calais, he settled in Antwerp, where he married Suzanna Colyn de Nole, in this period he won many commissions from royalty, mayors, and city halls. According to Houbraken, a Continence of Scipio was painted for the Leiden city hall, a poem by Joost van den Vondel was written in honor of a painting he made for the mayors office of the Amsterdam city hall in 1661. According to the Amsterdams Historisch Museum, this piece survives and depicts Brinno raised on a shield with the Cananefates, Lievens collaborated and shared a studio with Rembrandt van Rijn from about 1626 to 1631. Their competitive collaboration, represented in two dozen paintings, drawings and etchings, was intimate enough to cause difficulties in the attribution of works from this period. Lievens showed talent for painting in a scale, and his dramatic compositions suggest the influence of the Caravaggisti. In Constantijn Huygens assessment, Lievens was more inventive, yet less expressive than Rembrandt, the two men split in 1631, when Rembrandt moved to Amsterdam and Lievens to England. In 1656 Rembrandt still owned paintings by his former friend, during his time in England Lievens painted a portrait for Thomas Howard, 21st Earl of Arundel, and became influenced by the works of Anthony van Dyck. Lievens worked in Antwerp, and cooperated with Adriaen Brouwer, after being a court painter in The Hague and Berlin, he returned to Amsterdam in 1655. After his first wife died he married a sister of Jan de Bray in 1648, after 1672, the Rampjaar Lievens had increasing financial difficulties and his family voided all claims of inheritance on his death due to his debts. Rembrandt, His Life, His Work, His Time, trans. from the Dutch by Elizabeth Willems-Treeman

Jan Lievens
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Self portrait
Jan Lievens
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Still Life with Books
Jan Lievens
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Jan Lievens's painting of Allegory of Peace. The sitting female allegory of Peace is being crowned by a woman in armor, while trampling the allegory of War under her feet. 1654
Jan Lievens
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Democriet (laughing) & Herakliet (crying) by Cornelis van Haarlem, which Lievens copied at 12. (The copy is lost)

55.
Hendrick van Uylenburgh
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Hendrick Gerritsz van Uylenburgh was an influential Dutch Golden Age art dealer who helped launch the careers of Rembrandt, Govert Flinck, Ferdinand Bol and other painters. Van Uylenburgh came from a Frisian family and emigrated with family to Kraków when he was a boy. He was trained as a painter and also worked as an art buyer for the Polish king, around 1612 he moved to Danzig and in 1625 returned to the Netherlands, settling in the bustling capital of Amsterdam. Van Uylenburgh took over the business of Cornelis van der Voort and became an art dealer, in 1631 Rembrandt moved into van Uylenburghs house to work in Van Uylenburghs studio. Rembrandt became chief painter of the studio and in 1634 married Van Uylenburghs niece Saskia van Uylenburgh, in 1647 Van Uylenburgh had to move to a new location on Dam square, because Nicolaes Eliaszoon Pickenoy sold the house. When his house on Dam square was appropriated to build a new city hall and his son Gerrit van Uylenburgh took over the family business after Van Uylenburghs death and burial in the Westerkerk church in 1661. Gerrit went bankrupt in 1675 following accusations that he had sold forged art to Frederick William, in 2006 the Rembrandt House Museum presented an exhibition around Hendrick van Uylenburgh and his son Gerrit. The exhibition was shown at the Dulwich Picture Gallery in London. Telegraph. co. uk, A very modern 17th-century art dealer

56.
Jan Six
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Jan Six was an important cultural figure in the Dutch Golden Age. The son of a merchant family Six, Jan studied liberal arts. He became the son-in-law of the mayor of Amsterdam, Nicolaes Tulp, in 1655, thanks to his father-in-law, he became magistrate of family law and various other appointments on the city council, eventually becoming mayor of Amsterdam himself in 1691 at the ripe age of 73. Six was good friends with the poet Joost van den Vondel, Six remained a devotee of the arts all his life and wrote plays himself, the most famous being Medea, published in 1648, and Onschult in 1662. In the same year the Dutch translation of Baldassarre Castigliones Il libro del Cortegiano was dedicated to Six and his collection of paintings, drawings, etchings, and other artifacts were popular in his lifetime. The 171 paintings that Lucretia Jans took with her on her marriage, were half of her fathers extensive collection that itself had been known. The other half went to her sister Anna Louisa, who married Willem van Loon. A few of those paintings can still be seen in Museum Van Loon, the dispute has been resolved and the top pieces are lent to the Rijksmuseum several months every other year

57.
Wilhelm von Bode
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Wilhelm von Bode was a German art historian and curator. Born Arnold Wilhelm Bode in Calvörde, he was ennobled in 1913 and he was the creator and first curator of the Kaiser Friedrich Museum, now called the Bode Museum in his honor, in 1904. Bode studied law at the Universities of Göttingen and Berlin, while practicing law in Braunschweig he systematically rearranged the ducal art collections, and visited a number of museums and private collections in Belgium, the Netherlands, and Italy. After studies in art history in Berlin and Vienna, he received his doctorate from the University of Leipzig in 1870 based on his dissertation Frans Hals und seine Schule. In 1872 he took a position as an assistant curator of sculpture in the museums in Berlin. He took over the Gemäldegalerie in 1890, and became director of what is now the Berlin State Museums in 1905. He was also in charge of rebuilding the museums of Strasbourg, bodes writings on a wide variety of topics in art history, particularly Italian Renaissance art, were widely influential, and remain key texts in the field. His autobiography, Mein Leben, was published posthumously in 1930, von Bode, the general manager of the Prussian Art Collections for the Berlin Museum, had spotted the bust in a London gallery and purchased it for a few pounds. Shortly afterwards, The Times ran an article claiming that the bust was the work of Lucas, lucass son, Albert, then came forward and swore under oath that the story was correct and that he had helped his father to make it. Albert was able to explain how the layers of wax had been built up from old candle ends, he described how his father would stuff various debris, including newspapers. When the Berlin museum staff removed the base they found the debris, just as Albert had described it, despite this evidence, Bode continued to claim that his original attribution was correct. Various claims and counter-claims have been put forward about the bust, scientific examination has been inconclusive and unhelpful in dating the bust, although it is accepted as having at least some connection with Lucas. The bust remains on display in what is now the Bode Museum labelled England, Leipzig Studien zur Geschichte der hollandischen Malerei, Braunschweig,1883 Geschichte der deutschen Plastik,1887 Rembrandt,8 volumes, with C. Hofstede de Groot, 1897–1905 Der Cicerone, Eine Anleitung zum Genuss der Kunstwerke Italiens von Jacob Burckhardt, 1900–1901 Kunst und Kunstgewerbe am Ende des neunzehnten Jahrhunderts. Die Meister der holländischen und vlämischen Malerschulen,1917, die italienischen Bronzestatuetten der Renaissance,1922. Catalogue of the Collection of Pictures and Bronzes in the Possession of Mr. Otto Beit, Introduction and Descriptions by Dr. Wilhelm Bode,1913. The Collection of Pictures of the Late Herr A. de Ridder in his Villa at Schönberg near Cronberg in the Taunus, Catalogued and Described by Wilhelm Bode, antique Rugs from the Near East, translated by R. M. Riefstahl,1922. Sandro Botticelli, translated by F. Renfield and F. L. Rudston Brown,1925, florentine sculptors of the Renaissance, translated by Jessie Haynes,1928

58.
Cornelis Hofstede de Groot
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Cornelis Hofstede de Groot, was a Dutch art collector, art historian and museum curator. He was born in Dwingeloo and spent some time in Switzerland in his due to weak lungs. Jahrhunderts, also known as a rewrite of John Smiths Catalogue raisonné, in 1893 he published a short article on Judith Leyster in the journal Jahrbuch der Königlich Preussischen Kunstsammlungen, thus re-discovering her work for the first time after centuries. In 1896 he became director of the Rijksprentenkabinet in Amsterdam, and he then settled in the Hague as an independent art critic and began work on an eight-part book on Rembrandt with Wilhelm von Bode. His catalog of his collection of Rembrandt drawings in German was published by the Teylers Tweede Genootschap in their Verhandelingen of 1906. In 1910 he published a catalog of paintings by Frans Hals, from 1912 to 1930 he lived in Haarlem, where he was a member of Teylers Tweede Genootschap. From 1916 onwards he was a member of the Rijksmonument commission in the Netherlands and he wrote over 70 biographies of Dutch painters for the kunstenaarslexikon of Ulrich Thieme and Felix Becker. He began the work of updating John Smiths catalogue raisonné in 1907 in German. Unfortunately, Hofstede de Groot died before the translation of all volumes could be completed. The publications were, Band 11907, Jan Steen, Gabriel Metsu, Gerard Dou, Pieter de Hooch, Carel Fabritius, Johannes Vermeer of Delft, produced with assistance by W. R. R

Cornelis Hofstede de Groot
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Hofstede de Groot by Max Liebermann, 1928
Cornelis Hofstede de Groot
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Title page of the first volume in German in 1907
Cornelis Hofstede de Groot

59.
Arnold Houbraken
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Arnold Houbraken was a Dutch painter and writer from Dordrecht, now remembered mainly as a biographer of artists from the Dutch Golden Age. Houbraken was sent first to learn threadtwisting from Johannes de Haan, after two years he then studied art with Willem van Drielenburch, who he was with during the rampjaar, the year 1672. He then studied 9 months with Jacobus Leveck and finally, four years with Samuel van Hoogstraten, in 1685 he married Sara Sasbout, and around 1709 he moved from Dordrecht to Amsterdam. Arnold Houbraken painted mythological and religious paintings, portraits and landscapes and his first attempt at an instructive manual for artists was his Emblem book, Inhoud van t Sieraad der Afbeelding, which was meant as a guide of possible painting themes. His registered pupils were Matthijs Balen, Johan Graham, and his son Jacob and his son Jacobus Houbraken was an engraver of portraits and book illustrations, including books by his father. His daughter Antonina Houbraken also became an engraver for an Amsterdam publisher and his daughter Christina Houbraken was also an artist. Arnold Houbrakens books sold well during the entire 18th century. Jacob Campo Weyerman published his version in serial form that was published as a complete set in 1769. Houbrakens engravings of the artists are in cases the only surviving portraits of these people. The first to make a sequel to Houbrakens work was Johan van Gool in 1750-51. Houbraken was very careful to check and double check his sources, excepting those cases where the artist died quite young, or whose oeuvre was lost during various wars, very few artists were included in the Schouburg who do not hang in international museums today. The first modern art historian to publish an update of his work was Adriaan van der Willigen, since then he has remained a valuable resource for art historians. The Schouburgh is part of the Basic Library of the dbnl which contains the 1000 most important works in Dutch literature from the Middle Ages to today

60.
Constantijn Huygens
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Sir Constantijn Huygens, Lord of Zuilichem, was a Dutch Golden Age poet and composer. He was secretary to two Princes of Orange, Frederick Henry and William II, and the father of the scientist Christiaan Huygens. Constantijn Huygens was born in The Hague, the son of Christiaan Huygens, secretary of the Council of State. Constantijn was a child in his youth. His brother Maurits and he were educated partly by their father, when he was five years old, Constantijn and his brother received their first musical education. They started with singing lessons, and they learned their notes using gold colored buttons on their jackets and it is striking, that Christiaan senior imparted the modern system of 7 note names to the boys, instead of the traditional, but much more complicated hexachord system. Two years later the first lessons on the viol started, followed by the lute, Constantijn showed a particular acumen for the lute. Constantijn also had a talent for languages and he learned French, Latin and Greek, and at a later age Italian and English. He learned by practice, the way of learning techniques. Constantijn received education in maths, law and logic and he learned how to handle a pike, in 1614 Constantijn wrote his first Dutch poem, inspired by the French poet Guillaume de Salluste Du Bartas, in which he praises rural life. In his early 20s, he fell in love with Dorothea, however their relationship did not last, in 1616, Maurits and Constantijn started studies at Leiden University. Studying in Leiden was primarily seen as a way to build a social network, shortly after, Maurits was called home to assist his father. Constantijn finished his studies in 1617 and returned home and this was followed by six weeks of training with Antonis de Hubert, a lawyer in Zierikzee. In the Spring of 1618 Constantijn found employment with Sir Dudley Carleton, in the summer, he stayed in London in the house of the Dutch ambassador, Noël de Caron. During his time in London his social circle widened and he learned to speak English. In 1620, towards the end of the Twelve Years Truce, he travelled as a secretary of ambassador François van Aerssen to Venice and he was the only member of the legation who could speak Italian. In December 1621 he left with another delegation, this time with the aim of requesting support for the United Provinces, returning after a year, there was yet another trip to England in 1624. In 1619 Constantijn came into contact with Anna Roemers Visscher and with Pieter Corneliszoon Hooft, Huygens exchanged many poems with Anna

61.
Stealing Rembrandt
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Stealing Rembrandt is a 2003 Danish-language film. An action-comedy, the film concerns a father and son who accidentally steal a painting by Rembrandt, a Danish/UK co-production, the film was directed by Jannik Johansen and written by Anders Thomas Jensen and Jannik Johansen. The film was premiered at the 2003 Cannes Film Festival, on 29 January 1999, Rembrandts portrait of a lady was stolen from the poorly protected Nivaagaard Samlingen in Nivå in Denmark. The depiction in the film of the level of security at that time is fairly accurate, also, the persons involved were related as depicted, although the role of the father was actually the uncle

Stealing Rembrandt
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Stealing Rembrandt

62.
Nightwatching
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Nightwatching is a 2007 film about the artist Rembrandt and the creation of his painting The Night Watch. Reinier van Brummelen is the director of photography, james Willcock, known for his esoteric sets, is the art director. The film is described by co-producer Jean Labadie as a return to the Greenaway of The Draughtsmans Contract and it features Greenaways trademark neoclassical compositions and graphic sexuality. The music is by Włodek Pawlik, the film premiered in competition, at the Venice Film Festival. Nightwatching is the first feature in Greenaways film series Dutch Masters, the following film in the series is Goltzius and the Pelican Company. An associated work by the director is the documentary film Rembrandts JAccuse, in which Greenaway addresses 34 mysteries associated with the painting. The film is centred on the creation of The Night Watch, Rembrandts most famous work, the film also depicts Rembrandts personal life, and suggests he suffered serious consequences in later life as a result of the accusation contained in his most famous painting

63.
Rembrandt Research Project
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The Rembrandt Research Project is an initiative of the Nederlandse Organisatie voor Wetenschappelijk Onderzoek, which is the Netherlands Organization for Scientific Research. Its purpose is to organize and categorize research on Rembrandt, with the aim of discovering new facts about this Dutch Golden Age painter, the project was started in 1968, but has since become the authority on Rembrandt and has final say in whether a painting is genuine. Also, more paintings have been attributed to working in the Rembrandt studio. Recently, period copies of Rembrandt paintings are being studied for clues as to whether certain copies were factory-style pieces for visiting functionaries. Rembrandts work was in demand for decades, and he managed to keep productivity up while also keeping his prices high by enforcing strict quality control on the work done in his studio. The projects six-volume publication, A Corpus of Rembrandt Paintings, is considered the authority by all auction houses and dealers who work with works by Rembrandt. However, the project has also initiated debate about the feasibility of conclusive attribution, Ernst van de Wetering, Barbara de Lange, Rembrandt in Nieuw Licht, Local World, Amsterdam,2009, ISBN 978-90-811681-7-5. The research project is also the point of reference regarding concordance with other catalogs of the masters works, though most of these reference each other. Below is a partial list of some commonly quoted catalogs, Catalogue extracted from the Register L R. fol, ploos van Amstel, J. Cz. welke in het openbaar zullen verkogt worden, C. This painting was first cataloged in 1917 by Abraham Bredius, who accepted it as a Rembrandt, later Kurt Bauch rejected this based on a photograph and attributed it to Jan Lievens without ever having seen the painting. Werner Sumowski re-attributed the painting based on photographs to Rousseaux as a rebuttal to the arguments by art historians Bauch, Jakob Rosenberg, the Rembrandt Research project seeks to avoid such arguments by making attributions based on historical and forensic evidence. The study of Rembrandts oevre includes study of drawings and etchings as well as paintings by a range of artists who were Rembrandts contemporaries. The pAn 1998 catalog contains an article by Ernst van de Wetering with fotos of other depictions of the man by Jan Lievens, Gerard Dou. The man has clearly the face in all four portraits. According to Van de Wetering, this is the man referred to as Rembrandts father, who was probably not his father. In early 2011, the RRP board voted to terminate the project by the end of 2011 even though approximately one-quarter of Rembrandts oeuvre has not yet been investigated. A major reason for this decision was the lack of available to assume responsibilities from the RRPs chair, Ernst van de Wetering. Other reasons cited included lack of funding, as the Netherlands Organisation for Scientific Research ceased funding the project in 1998

Rembrandt Research Project
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Signatures by Rembrandt published by the Rembrandt Research Project.
Rembrandt Research Project
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Old man with turban, Rembrandt.
Rembrandt Research Project
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Sultan Soliman, Lievens.
Rembrandt Research Project
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Old man with turban, Jan Adriaensz Staveren.

64.
Rembrandt lighting
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Rembrandt lighting is a lighting technique that is used in studio portrait photography. It can be achieved using one light and a reflector, or two lights, and is popular because it is capable of producing images which appear both natural and compelling with a minimum of equipment. Rembrandt lighting is characterized by an illuminated triangle under the eye of the subject on the illuminated side of the face. It is named for the Dutch painter Rembrandt, who used this type of lighting. The key in Rembrandt lighting is creating the triangle or diamond shape of light underneath the eye, the triangle should be no longer than the nose and no wider than the eye. This technique may be achieved subtly or very dramatically by altering the distance between subject and lights and relative strengths of main and fill lights, DeMille is credited with the first use of the term. When business partner Sam Goldwyn saw the film only half an actors face illuminated. After DeMille told him it was Rembrandt lighting, Sam’s reply was jubilant with relief, for Rembrandt lighting the exhibitors would pay double

65.
Rembrandt House Museum
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The Rembrandt House Museum is a historic house and art museum in Amsterdam in the Netherlands. Painter Rembrandt lived and worked in the house between 1639 and 1656, the 17th-century interior has been reconstructed. The collection contains Rembrandts etchings and paintings of his contemporaries, the museum had 237,383 visitors in 2014. The house is located in the Jodenbreestraat in Amsterdam, where Rembrandt lived and painted for a number of years, Rembrandt purchased the house in 1639 and lived there until he went bankrupt in 1656, when all his belongings went on auction. The auction list enabled the reconstructions of all his belongings which are also on display in the house, a few years ago the house was thoroughly reconstructed on the inside to show how the house would have looked in Rembrandts days. Adjoining the house is a building where work of Rembrandt is on display, mainly etchings. Michael Huijser is the director and David de Witt is the curator. Since 2008, the museum had around 200,000 visitors per year, with a record number of 237,383 visitors in 2014

Rembrandt House Museum
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Rembrandt House Museum in 2006
Rembrandt House Museum
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Bed-sitting room. The 17th-century bed did not belong to Rembrandt, but it is similar to the original.

66.
Rembrandtplein
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Rembrandtplein is a major square in central Amsterdam, the Netherlands, named after the famous painter Rembrandt van Rijn who owned a house nearby from 1639 to 1656. The square has its origins in the walls constructed in the Middle Ages to protect the city. The site of Rembrandtplein held a Regulierspoort or gateway into the city, by 1668, the Regulierspoort housed a Waaggebouw or weigh house. Each autumn, the square hosted a fair and the stalls were replaced by dance orchestras. The market continued under this name until 1876 when a statue of Rembrandt by sculptor Louis Royer was moved from the perimeter to the centre of the square, by the early twentieth century, the square developed into a centre for nightlife drawing artists, young people and laborers. To serve these visitors, several hotels, cafés and entertainment venues opened in the adjoining streets, the area continues to be popular with residents and tourists. The square is bordered on the east by Utrechtsestraat, Reguliersdwarsstraat on the south, Regulierbreestraat on the north, ABN AMRO vacated the structure in 2002 and in 2011 it reopened as retail office building named simply The Bank with 25,000 m2 of space after a five-year renovation. Thorbeckeplein, named after politician Johan Rudolf Thorbecke, is adjacent to the south, in December 2006, the square became home to a large interactive LCD-screen. The display measures 7.6 m ×15 m and, in addition to programmed advertisements, at the time of installation, the screen was the largest in Europe at 114 m2. The statue of Rembrandt was made in 1852 by sculptor Louis Royer and is of cast iron and it was cast in one piece and it is Amsterdams oldest surviving statue in a public space. The current design of the square is the result of a €3.5 million renovation completed in December 2009, the statue is on a grey granite base bearing a replica of his signature. It occupies a space in the centre of the square facing a plaza paved with matching gray granite slabs accented by planters, trees, the perimeter of the square is bordered by grass and trees. This bronze-cast representation of the painting was on display for three-years before traveling to New York City, Moscow and Oranienbaum. In 2012, the bronze Night Watch sculptures returned to the square where they serve as a magnet for visitors. In January 2013, the Rembrandtplein Entrepreneurs Foundation began a fundraiser to keep the sculptures in the square throughout the year

Rembrandtplein
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Rembrandtplein after reconstruction 2009
Rembrandtplein
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Rembrandt on Rembrandtplein
Rembrandtplein
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The sculptures of the Night Watch in 3D at the Rembrandtplein in Amsterdam in 2006-2009

67.
Rembrandt, Iowa
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Rembrandt is a city in Buena Vista County, Iowa, United States. The population was 203 at the 2010 census, rembrandt is located at 42°4935 North, 95°957 West. According to the United States Census Bureau, the city has an area of 0.20 square miles. As of the census of 2010, there were 203 people,89 households, the population density was 1,015.0 inhabitants per square mile. There were 99 housing units at a density of 495.0 per square mile. The racial makeup of the city was 97. 0% White,0. 5% African American,1. 5% from other races, hispanic or Latino of any race were 3. 9% of the population. 37. 1% of all households were made up of individuals and 10. 1% had someone living alone who was 65 years of age or older, the average household size was 2.28 and the average family size was 2.92. The median age in the city was 37.8 years. 28. 1% of residents were under the age of 18,7. 9% were between the ages of 18 and 24,21. 1% were from 25 to 44, 33% were from 45 to 64, and 9. 9% were 65 years of age or older. The gender makeup of the city was 48. 8% male and 51. 2% female, as of the census of 2000, there were 228 people,96 households, and 59 families residing in the city. The population density was 1,116.9 people per square mile, there were 102 housing units at an average density of 499.7 per square mile. The racial makeup of the city was 100. 00% White,36. 5% of all households were made up of individuals and 15. 6% had someone living alone who was 65 years of age or older. The average household size was 2.38 and the family size was 3.17. Age spread,28. 5% under the age of 18,9. 6% from 18 to 24,24. 6% from 25 to 44,21. 5% from 45 to 64, the median age was 37 years. For every 100 females there were 94.9 males, for every 100 females age 18 and over, there were 94.0 males. The median income for a household in the city was $34,375, males had a median income of $31,500 versus $17,500 for females. The per capita income for the city was $17,248, none of the families and 4. 0% of the population were living below the poverty line, including no under eighteens and 7. 4% of those over 64

Rembrandt, Iowa
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Location of Rembrandt, Iowa

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Rembrandt (crater)
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Rembrandt is a large impact crater on Mercury. With a diameter of 715 km it is the second-largest impact basin on the planet, after Caloris and it was discovered by MESSENGER during its second flyby of Mercury on October 6,2008. The crater is 3.9 billion years old, and was created during the period of Late Heavy Bombardment, the density and size distribution of impact craters along Rembrandts rim indicate that it is one of the youngest impact basins on Mercury. The crater is named after Dutch painter Rembrandt Harmenszoon van Rijn, Rembrandt was discovered in the images taken by the MESSENGER spacecraft during its second flyby of Mercury on October 6,2008. The crater is situated in the hemisphere of the planet at the latitude of about −33°. It is named after famous Dutch painter Rembrandt Harmenszoon van Rijn, the name Rembrandt was approved by the International Astronomical Union on February 27,2009. Rembrandt is the second largest impact basin on Mercury after Caloris and its outer boundary, which is called crater rim, is defined by a ring of inward facing scarps and massifs. The diameter of this ring is 715 km — half the diameter of Caloris, the basin is surrounded by the blocky impact deposits made from the material excavated from the depth. The ejecta are mainly observed to the north and northeast from the basin, the interior of Rembrandt includes two terrain types, hummocky terrain and smooth plains. The former occupies a part of the floor near its northern margin forming an incomplete ring about 130 km wide. The latter fill much of the interior of Rembrandt and these two plain types are separated from each other by a ring of massifs, which is about 450 km in diameter. This boundary may correspond to the edge of the transient cavity created by the impact. The smooth plains filling the inner part of Rembrandt are interpreted to be of the volcanic origin and they are probably similar to the Lunar maria, although they are lighter than the surrounding plains, which is the opposite of what is observed on the Moon. The smooth plains are intersected by a system of wrinkle-ridges and troughs, the concentric ridges form a nearly complete ring with the diameter of about 375 km. The radial wrinkle ridges and troughs occur mainly inside this ring, both radial and concentric ridges have the width between 1 and 10 km and can be as long as 180 km. The troughs are generally younger than the ridges, because they cut the latter, the width of the troughs varies from 1 and 3 km. Some radial troughs closely follow wrinkle ridges forming a wheel spoke pattern. Troughs are interpreted to be extensional features—grabens, while wrinkle ridges are contractional, Rembrandt basin is cross-cut by a large lobate scarp running from the southwest to the north

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Rembrandt (train)
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The Rembrandt was an express train that linked Amsterdam in the Netherlands, with Munich in Germany and later Chur in Switzerland. The train was named after the renowned Dutch painter Rembrandt, for its first 16 years it was a first-class-only Trans Europ Express, becoming a two-class InterCity in 1983 and finally a EuroCity in 1987. With the completion of the works at the Dutch–German border on the Arnhem–Oberhausen line. Of the then-three TEE services on line, the Rembrandt was scheduled as the afternoon service from Amsterdam. It carried a dining car staffed by the German Sleeper and Dining Car Company, the Rembrandt was the first TEE to call in Baden-Wurtembergs capital, Stuttgart. Northbound, the Rembrandt departed for Amsterdam from Munich early in the morning, on 27 May 1979, the exchange of coaches with the Helvetia was discontinued, and the stop at Mannheim was replaced by a stop at Darmstadt. On 1 June 1980, the route was shortened to Stuttgart at the southern end, the Rembrandts last day of operation as a TEE was 28 May 1983. The following day, its terminus was moved farther north, to Frankfurt am Main. It continued to carry a full dining car and its train number was IC122 northbound, IC123 southbound. On 31 May 1987, with the start of the EuroCity network, the original route of the Rembrandt was served by EC Frans Hals. When new Swiss rolling stock of type EC90 became available in 1991, on 14 December 2002, the Rembrandt was replaced by an ICE service between Amsterdam and Basel. Media related to Rembrandt at Wikimedia Commons

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Rembrandt in Southern California
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Fourteen Rembrandt paintings are held in collections in Southern California. This accumulation began with J. Paul Gettys purchase of the Portrait of Marten Looten in 1938, Portrait of Marten Looten is now housed at the Los Angeles County Museum of Art. The Rembrandt Club of Pomona College in Claremont, California was established in 1905 for the promotion and it predates all of the major art museums of Southern California. After her death the painting was inherited by her son Archer M. Huntington and he sold it in 1928, the year that the Huntington Library, Art Gallery, and Botanical Gardens was established. Aristotle was eventually purchased by the Metropolitan Museum of Art of New York in 1962, at the time this was the highest amount ever paid for a painting at a public or private sale. In 1913, the Los Angeles County Museum of History, Science, the inclusion of the three divisions had been determined in part by the Smithsonians configuration, and there was very little art to display. The opening of the museum was timed to coincide with the completion of the Owens Valley aqueduct—it was part of the celebratory festivities and this was no coincidence, the ready availability of water made the development of Southern California possible. Soon a community interested and knowledgeable regarding culture and fine arts emerged, considered a newsworthy event, accounts in the Los Angeles Times trumpet the earliest arrivals of professed Rembrandt paintings in the Southland in 1928 and 1932. An Elderly Jew in Fur Cap was purchased by Mr. during the fall and winter of 1934-35, the Los Angeles Sunday Times published a series entitled Southern Californias One Hundred Finest Privately Owned Paintings. The Keelers Rembrandt was featured in the first edition of the series, when Mary Keeler died in 1939, she left their collection of art to the County Museum of History, Science, and Art, without restrictions. Another purported Rembrandt, Portrait of a Woman with Oriental Headdress, was acquired by Mr. in 1938, the Willitts J. Hole collection was donated by his daughter Agnes Hole Rindge to the University of California, Los Angeles. Soon after, on January 8,1940, the Hole Rembrandt, supported by scholars as genuine works by Rembrandts hand at the time, both the Keeler and Hole pictures have since been reconsidered. In 1947 when the picture was owned by Marion Davies, Hearst gave the funds to Los Angeles County Museum of Art to purchase it, along with eighteen other works, from her. No longer considered by Rembrandt, it is attributed to Govert Flinck. As described above, prior to a division in 1961, fine art was integrated with history, soon after the Rembrandt expert became the first director of the newly created J. Paul Getty Museum in Malibu,1954. Museum leaders have calculated the cost of upgrading various areas of their collection, he states, to approach the heights of a Rembrandt repository. would cost no less than $65 million. The article also reports a rumor about a Southern California Rembrandt that is very illuminating, While Los Angeles may resent signs of Eastern condescension, it has not lost its sense of humor. It is still capable of chuckling about a story, possibly only a rumor, involving a Rembrandt portrait owned by Howard Ahmanson, banker and patron of the arts